Gen's upcoming events and Misc.upcoming projects...





GENS MISC. UPCOMING PROJECTS: Heartworm Press are publishing “Collected Lyrics and Poems of Genesis Breyer P-Orridge – Volume One 1961 to 1971. Later they will publish Gen's first novel, written in 1969, “Mrs. Askwith”. Other books will follow.

Showing posts with label NEXT-NEW-WAY-ON. Show all posts
Showing posts with label NEXT-NEW-WAY-ON. Show all posts

Sunday, April 17, 2011

THE LAST MUSEUM - A New Way On for art galleries and museums.

Circa 1999 post on gen's old "next-new-way-on" website announcing the "LAST MUSEUM" sub site.

THE LAST MUSEUM - A New Way On for art galleries and museums.


Brian damage has been working hard on realisation of our latest idea for the NNWO. We briefly had an art show by Skot Armstrong of Science Holiday on this site. That was just a taste. We have now decided to build and administer a full-on art gallery and museum, named after Brion Gysin's last "novel" and dedicated to the memory of his inspirations.

When you go to The Last Museum there will be a floor plan. On the firstfloor there will be two separate art galleries. An exhibition in each will last 8 weeks. There will be a museum shop. Even bathrooms! On the second floor will be the library and archives and the permanent collection. Benefactors will donate archive materials, or funds to maintain and run the museum so that as soon as possible we'll have a 24/7 staff expanding the database, limited editions and correspondence. As the Museum grows, new floors will be added.

One of the great things about this structure is that the museum curators will be able to exhibit previously unavailable or rare materials, images, texts, and photos. Animation, graphics, soundworks will be shown. Virtual and conceptual digitally site specific commissions will be given as funds allow.


Genesis P-Orridge & Miss Jackie Curators of The Last Museum.

Photo by Caresse P-Orridge February 2000. Copyright NNWO 2000.

The first exhibition in The West Gallery will be a new, improved, and expanded exhibition of Skot Armstrong's "LAS VEGAS" show with sound especially reconfigured by Skot after another research visit to the wonderland. Please check our site at NNWO regularly as, all being well, it will go up during September.


The first exhibition in The East Gallerywill be of "EROTIC MAIL ART COLLAGES FROM THE 1970's" by Genesis P-Orridge. These never before seen works have been kindly loaned by Jean-Pierre Turmel of Sordide sentimental, Miss Jackie, Monte Cazazza and others and has been curated by Ben Gala.

In the works are texts, images and photos by Brion gysin from the Genesis P-Orridge Archives; an exhibition of drawings by Timothy Wyllie; a new one-person show by Eric Heist who has been also collaborating with Genesis P-Orridge on an exhibition of paintings and installations that will begin February 15th 2001 in TEAM GALLERY in Chelsea, New York.

The Last Museum is fortunate in that it is run by artists who are still active and innovative worldwide in all media of arts and culture. With our unique network and the potential to combine online some of the most influential cultural movements since 1950 from Fluxus to Beatniks, from pop art to neo-decadent, we will be able to give worthwhile exposure to the true heart of underground creativity. So, watch these spaces!

Monday, April 11, 2011

2001 "Candy factory" interview saved from Gen's Next-new-way-on website

This Circa 2001 "Candy factory" interview was included in the "the last museum" sub-site section on Gen's Next-new-way-on website,which focused on Gen's visual art.

ERIC HEIST & GENESIS P-ORRIDGE


CANDY FACTORY


INTERVIEW WITH GENESIS P-ORRIDGE
BY SKOT ARMSTRONG


Genesis P-Orridge: Up Against the Candy Factory Wall

Ordinarily it isn't news when an artist offers a show of new work in a traditional gallery setting. But Genesis P-Orridge is not an ordinary artist. For three decades he has been exploring new ways of presenting his vision outside of gallery walls. Calling himself a "cultural engineer", he has achieved iconic status in a variety of fields. Now he has his eye on the art world proper.

When I first met Mr. P-Orridge in 1974, he was editing an exhaustive encyclopedia of modern artists.(Contemporary Artists pub by St Martins thru Macmillans) As resumes poured in from all over the world, he regaled me with stories of who was doing what in the name of art. He was also producing mail art and performing all over Europe with his artist collective called Coum Transmissions. When one of his erotic postcards was seized by Scotland Yard in 1975; he turned the subsequent trial into a performance piece involving such luminaries as Bridget Riley; Allen Jones; Mark Boyle and William Burroughs. Later that year, work began on a show at the ICA in London called "Prostitution". The show thumbed its nose at the British art establishment, featuring pornographic images, used tampons and live mice. It also foreshadowed the controversy of the NEA four, as the show was produced with public funds. For weeks the tabloids had a field day and P-Orridge was headline news. One of these headlines became the title of a book about P-Orridge and his Coum associates: "Wreckers of Civilization".

It was during this show that P-Orridge and crew premiered their latest foray into performance art, a "band" called Throbbing Gristle. Punk rock was in its first bloom and record executives were falling all over themselves to sign the mysterious and cantankerous new "band". But this was performance art and they wanted to do it their way. They formed their own label and began releasing their own work along with that of other acts that were hard to characterize. True to their performance art roots, they played non-traditional venues with each performance lasting exactly one hour. They also released films and videos that had more to do with art than music.

In 1981, after the TG members had gone their separate ways, P-Orridge founded his own church. Besides the obvious tax advantages, he was afforded an opportunity to field study the effects of organized religion. A slow news day in the early 90's caused a new series of headlines, which forced him into exile from his native country. This also caused Scotland Yard to seize his considerable archives. He landed in the U.S. on the doorstep of Timothy Leary, who was no stranger to government persecution.

P-Orridge has traveled the globe and has been allowed to see things that aren't usually shown to western white people. He was a good friend to (filmmaker) Derek Jarman and was instrumental in the preservation of the archives of painter Brion Gysin (who exhibited in the first Surrealist show and later invented the cut-up technique employed by William Burroughs). His opinion is frequently sought by people who are seeking to make sense of cultural trends. His new show marks a return to gallery walls. We decided to catch up with him to see what he's doing and why he's doing it.

How do you currently perceive your relationship with the artworld?

In the beginning I had a romantic vision of the artist's labors being a divinely chosen activity equal to that of a doctor, or priest; a calling that was absolutely impossible to deny or refuse. As I began seriously making art in the form of expanded paintings, collages and kinetic installations and environments in the 60's I experienced a deeply painful distress at the sycophantic and self-serving, hypocritical and social "clique freak" foundations of the gallery scenes. Inevitably for years my art and relationship with the artworld became fueled by anger and indignation, satire and popularism as a result. Now I feel very much that a dynamic of mutual knowing seduction is the appropriate process and dialogue for all concerned. A maximization of reflective content and access for all seems to be the hors d'oeuvre of the day!

How have your methods changed over three decades?

Generally, at this stage in my art, I will conceptualize meticulously and thoroughly, approaching an intriguing idea from as many speculative directions as possible. I'll also engage other artists and non-artists in conversational speculation around the themes and even the words I am drawn to use and explore. Once the stage is reached where I maintain an aesthetic and effectual curiosity with the chosen theme I'll begin making works and, where once I would continue to "talk them up" so to speak, now as I witness their physical manifestation I conceptualize less and less until by the time of an exhibition the entire integrated piece, is for my part, non-verbal.

When did you decide you were an artist?

By 1965 I was reading books on Dada and Surrealism voraciously. I had free reign of the loft in my house, which I converted into a painting studio. There I experimented during all my free time teaching myself various styles and techniques with acrylics, water colors and with collages. To raise money for materials I would illustrate school magazines, church programs, design posters, paint ceramics, sunglasses, clocks, anything I could find in yard sales and junk shops to feed my media habit. Making art has remained a compulsive daily therapy and a sanctuary within which to study perceptual and aesthetic maps ever since.

What are the most important themes that your work deals with?

Sex. I very quickly intuited that art must aim to be all-inclusive. That no material or immaterial stone should be left unturned. As I privately began to use psycho-sexual dramas to decondition my SELF in order to move towards a state of aware neutrality where real personal choices and exposures of trauma, desire and compulsion were revealed, it became quite impossible to pretend that sex and sexuality and the expectations of gender were avoidable zones of expression. If I was to discuss a sensation, a taboo, if I was to neutralize the innate, and to me redundant and crippling core states of being and obsession, and, in both live actions and graphics illustrate these, then I must put my own body and sexuality into the frontline and retrieve the most unadulterated co-ordinates that located intersections of friction and dis-integration. The personality, for me, must comprise every possible and impossible sensory and imaginal experience. In the same way art must, without exception or dilution, include without fear of behavioral or physical damage or the judgement of any outside cabal, all aspects of the artist's evolving personality as the central raison d'ĂȘtre for creation.

Magic. I have a fundamental belief. A religious awe for the act of creation in all forms. I also believe that the manipulation of plastic materials, of all and any media, and the inclusion of life (the artist) and words (the universe) is a magickal act. Further, I would contend, based upon my own subjective, oft documented experiences to date, that art, and language are literally clusters of living energies. That we can assemble artifacts, images, commentaries and poetics that "make things happen" as William S. Burroughs and Brion Gysin so wisely affirmed. I therefore approach the act of creation, no matter how mundane it might appear to the consensus reality and context, as a holy act suffused with immense responsibility. In a very real sense, the artist is defined and recognized as the closest being in our apparent material and linear world, to "Godlike". One reason that I return over and over to various interpretations of the cut-up, and assembling, a jigsaw-like process, is my faith in the power and joy of breaking linearity in order to contribute directly to the alteration of and re-direction of inherited reality models. In this sense we perform magickal acts from the moment of imagination, through stimulation, via speculation to creation.

Collaboration is not a sin - the third mind. There is a rather entrenched tradition in the contemporary artworld that individuality and a promotion of the appearance of uniqueness is an unquestionable and essential part of the repertoire of success. I feel fortunate to have grown up with art movements is my icons rather than any of their component artists. Dada and Surrealism, happenings and fluxus, and of course mail art during its most inspiring phase in the early 70's would be the key influential movements. (I would also include the Beatniks here as an art-like movement) I have been fortunate enough to interface with later fluxus activities via the touring FLUXSHOE exhibitions, with many fascinating artists through mail art and via FILE and General Idea in Toronto and, of course, with the Beatniks too. Where many might feel threatened by collaboration, and the possibility of immersion in a group manifestation and effect, I have always found collaboration exhilarating and creatively nutritious. I have a profound sense of connection to others and have received only clarity and inspiration from open dialogue and interaction with so many of these carefully chosen artists and associates. Burroughs and Gysin as they developed their visual techniques through cut-ups noticed a fascinating phenomenon, which they referred to as "The Third Mind". It appeared, consistently, that as they collaborated, passing works back and forth, extrapolating, that another, extra voice, quite other than their own, began to contribute, speak and reveal, even shape those works. This "being", this creative force, was owned by neither artist, nor answerable to them. To me, this third mind is the voice of random chance, of illogic, of something truly new and outside expectation. It is, for me, closer to the unique than any individual with buried expectations and agendas can ever hope to reach. If one is looking at a transcendent moral imperative, and an open artistic system and process as the corner-stones of the creative act, then collaboration is not a sin, it is a necessity. To seize the means of perception is my goal, for then we can change memory, and truly work in the present.


Humor.


Inclusion of the human body.

The ability of an image to deceive based upon our assumptions about what it is and the information we are given regarding it and the possibility of directing reactions as a result of this.

Your new exhibition at TEAM Gallery in Chelsea is called "CANDY FACTORY". How are these themes addressed in this show?

Candy Factory is a totally integrated and balanced collaboration between myself and the radically innovative artist Eric Heist. The title evolved from a phone conversation with you (Skot) and led to the next stage of dialogue and speculation as to why the resonances of the title were so compelling. There is a lot of humor involved and multiple levels of metaphor and implication that we have discovered so far. No doubt others will recognize interpretations and precisions of reference that we have missed very much confirming the efficacy of collaboration. All the source images are Polaroid photographs from a series I began in the 70's using an SX70 camera and continued to this day. I had been patiently waiting for the images to "tell" me how they were to be used in a gallery context. Over the last 5 years my partner Miss Jackie had rejuvenated both the content and clarity of intent in these pollards. I realized that one theme they were revealing was a sexual one...the addiction of desire. Another was an ever more central concern of my art and thinking which was ambiguity, and the hermaphrodite as a symbol for a war on the over-riding binary polarization of both technology and consensus perception. Any either/or structure is anathema to me. In Nepal there is a discipline, considered by many the most rigorous, called Agori. This can be abbreviated to "the path of no distinction". The more recent the root images, the more androgynous and unspecific the information revealed and the more scattered and subjective the viewers interpretations. This process of the viewer's life and emotional residue dictating what they believe they see has never ceased to intrigue and excite me and is central to the way Candy Factory operates as All the images are processed in different manners, using sugar, silk screens, inks, paint, gold and aluminum leaf, mirrored mobiles, even tarp enclosed sculptures that change according to the adventurous intrusion of the viewer. Just as a lot of contemporary art might utilize knowing references to the art object, in our case we are more interested in the effect of knowingness related to the art person. Sugar is used as a metaphor, for the candy factory that is the residue and receptacle of sexual activity and carnal, adult desire; for the childhood fantasy of sensual appetite and desire realized; for the 70's integration of lifestyle, art, archetype and hedonism of Andy Warhol; for the mass visibility of androgyny and the romance of transgender display personified by Candy Darling and for many other modern reflections as culture folds in on itself in preparation for a next new way on of being. Eric Heist takes my raw materials and structures and then expands upon them, both conceptually, aesthetically and then literally by building them. In turn I will then decorate, adjust and amend his previous stage. This process goes back and forth until there is no separation or distinction between our roles or their plastic results.The entire show is like a jigsaw. Paintings that seem abstract become graphic as you move around and assemble various other works in one's mind. The exhibition can only exist completely in the memory and process of viewing. One enters through a 15-foot tunnel of sugar, illuminated by lightboxes containing Polaroid blow-ups. There are rugs that are woven of Polaroid images, hidden sculptures behind mirrors, large-scale "sugar paintings", a photographic series, even T-shirts, hard candy and coffee mugs. Miss Jackie has recorded a soundtrack for the Candy Factory and, of course there are addictive white powder references, sugar-cube sculptures falling from mirrors and mysteries galore. I feel that this is the most complete, fully integrated exhibition I have worked on so far as it contains a precise and meticulous unfolding of all my concerns where the balance between the whole and the parts is so perfect that the visitor is empowered to tip each and every scale from their eyes at any given moment. In a very real sense the Candy Factory has become forensic evidence of the continuing relevance and effectiveness of collaboration and the third mind principles. this time constructing a metaphorical environment where the viewer is placed as closely as possible into the ethereal role of neither creator, nor public, but by their presence becoming the intersecting point that is the only position that maintains the integrity and completion of the work itself. Thus we remove our selves from the center and they become through a necessity of collaboration the third mind.

Interview by SKOT ARMSTRONG Los Angeles 17th January 2001

This article will appear in COAGULA Magazine Feb 2001 Issue in a shorter form. SPECIAL THANKS TO TULSA AND ALL AT COAGULA for their support and interest.

All photos of Genesis P-Orridge and Miss Jackie copyright Skot Armstrong 2001.

Genesis P-Orridge Remembers Erotic Mailart by BENGALA

I saved this article from Gen's "Next-new-way-on" official webiste circa 2001. It was contained within a sub-page upon the site "The last museum" Showcasings Gen's archived work.


GENESIS P-ORRIDGE



EROTIC MAIL ART COLLAGES


FROM THE 1970'S



TO _____________ WITH LOVE



Genesis P-Orridge Remembers Erotic Mailart by BENGALA


There was a time in the not so distant past when men and women sent postcards, or even letters to one another, and often this exchange of images and words was illicit in nature. Both love notes and erotic postcards have rich historical pasts. Even today, walking down the street in any major city (especially those situated near a body of water), one undoubtedly comes across a variety of spicy postcards. Bountiful breasts straining against an "I Love New York" T-shirt, sand-covered Floridian asses all in a row, inebriated flashers lost in the over-stimulation of Mardi Gras. Sex to send still runs rampant.


Of course the Internet has done much to kill the exchange of paper and pen, envelope and stamp. Computers have become as accessible as books, if not in every home. Even travelers have no trouble staying connected to their long-distance paramours. Many upper end hotels now offer web access, and e-mail has become the rule in nearly every exchange. The chat room is the new realm of sex if not romance, immediate, vital. More often than not the mailbox is left holding only bills and unwanted offers for credit cards and savings at the local K-Mart.

Another aspect of postal personality left by the cyberdelic wayside is that of mailart. Though it still exists, this inspired trend peaked in the 1970s, as a celebration of correspondence as community, of visual puns and formalist exercises in rubber stamp, of the crossing of borders without the strain of commercial intentions. It was art for an audience of one, a package both personal and unpredictable, yet populist by nature. Mailart contained no curator. Even during the height of the movement's popularity, mailart galleries had an all-inclusive policy. Famous artists such as Ray Johnson and Ken Friedman of Fluxus were shown alongside obscure sendings from joe schmoe. Mailart wasn't even about being an artist, stressing instead creative communication. Judgement was withheld. The same held true for the staple publications, Vancouver's FILE (published by the art collective General Idea) and then later VILE from San Francisco. All things sent were printed.

It was this open-door policy that also allowed censorship no play within the mailart scene. Yet government agencies were crucial to the postal process. The mailman played the crucial third in our correspondents' tryst, the ballast without which the transfer of image or info would prove impossible. And while political powers came into play in some Third World packages, indecency, especially in the case of the postcard, lay with the postman to judge.


Genesis P-Orridge, founding member of COUM, Throbbing Gristle, Psychic TV and countless other art/sound/culture projects experienced these bureaucratic prejudices firsthand. While his work both within and without the postal medium always dealt with erotic material, in the mid-Seventies he'd been combining images of pornography and royalty in his queen postcard series.


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"I don't know when I decided to use the queen postcards with [images from porn magazines]. It was very early on. I think it was probably such a ridiculous level of kitsch and the national sense of taboo. Even in the Sixties, criticizing or manipulating respectful royal families was just ludicrous to me. It just fell naturally into place that the two things should go together. I had grown up liking the idea of Dada and Surrealism. I think it was just completely instinctive, just walking along the street in London and seeing queen postcards! I could see the altered versions even before I could pick them up. And it's historically much more accurate to reveal and illustrate the decadence and hedonism and corruption that's always been hand in hand in royal families of Great Britain. And that's not in any way a moral criticism or judgement. I just think it's far more exciting and interesting to actually reveal and illustrate more of the story instead of these completely trite and inaccurate representations. So that was there. And fun. Always the element of fun."

The English authorities found this artist's work problematic, though this was during what some would consider they summit of mailart's popularity. Rolling Stone Magazine had included a two-part article on mailart in 1972, which was soon followed by a cover article on Art in America. Still, the increasing roster of participants did not stop the British government from charging P-Orridge with indecency. In late 1975, he was summoned to appear before the courts. His queen postcards had been noticed.

"They couldn't prosecute me as being obscene because then I would have had a jury trial. At that time in Britain, jury trials on any thing obscene had failed. The public had become more liberal with that type of imagery. So they charged me with indecent mail, and the idea of indecent mail is that if one person anywhere complains that they are offended by what they have seen, it's indecent. One of the people working in the mail sorting office had seen one of my postcards and was offended. Therefor I was guilty. At the trial when he stood up and swore on the Bible and all that stuff. The court asked, "So were you offended by these postcards?" He answered, "No, but I thought somebody might be." And that is what I was prosecuted on. It was an indefensible thing. Then they admitted that they were opening my mail without a warrant."

Fortunately, much of the art community came to his aid and the charges were dismissed. P-Orridge lent to the absurdity of the proceedings by sending invitations to the event to other mailartists, music magazines such as Melody Maker and N.M.E., and even Charles Manson. But this was not to be the last time mailart would cause trouble. P-Orridge continued to work with sex and death as subject material.

"I used to send a lot of things that included maggots, used tampons and pieces of dead animals along erotic images for a while. I sent one to Monte [Cazazza, American artist and musician] and he had gone away somewhere for a couple of weeks. So [the package] started to rot and stink at the post office. And when he finally came back he went to get his mail and was asked, "Do you know someone named Genesis P-Orridge?" "Yes." "Right well, we have a real problem here. Do you know what's going on?" Then they brought this stinking thing out. "What kind of person would send this to someone in the mail?" Monte said, "My friend."

This incident led P-Orridge to have a rubber stamp made bearing the statement, "Unsolicited Pornography" so that his correspondents would not get in trouble for his mailings. Sexual material was the exception rather than the rule in mailart. Looking through the Image Request Lists of old FILE Magazines, this is evident.

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"FILE was a spoof on LIFE Magazine. Originally they used to have a yellow pages. It was called the Image Bank Request List and it was just yellow newsprint in the middle of the magazine. It was literally hundreds of names and addresses and you would put what it was you wanted to collect, what images you wanted people to send to you. There weren't categories. You could say anything. You just had your name and address and then typed up to twenty words. So people might say just wanted pictures of dogs. This woman called herself Irene Dog. Anna Banana wanted anything to do with bananas. William Burroughs was in it and he wrote "Camouflage for 1984".

"I used to just go through it and pick out mainly people who were mentioning things that had some kind of erotic or sexual connotations. It was actually very few, surprisingly few. There was a certain coyness to the whole thing, and quite a lot of post art college cleverness, which really wasn't very interesting to me. I was crusading right from the beginning with COUM with the idea that street culture and popular culture should be raised up to the level of or treated as fine art and fine art should be reduced to the level of popular culture. It was one of my basic ideas from the very beginning to use the tools that were already lying around in the street: graffiti, postcards, magazines, pubs, pavement, the park, anything like that. I was aware of the idea, originally, of postcards, flyers, rubber stamps, and so on being a quick way to contact people and generate curiosity or manipulate curiosity. It's always good to take something that exists and then corrupt it rather than trying to erase it with something else. I was aware very early on that stickers, magazines, flyers, posters had far more impact than people gave them credit for in terms of people assuming a) that they knew what it was or b) that it must be to some extent well organized and well financed otherwise it wouldn't be so public. You could give the effect of being many people when you're only one. You could also develop a retroactive link with people you haven't met. Put stuff out there so they could contact you. I only used [porn] magazines I could buy at newsagents: ones easily available. Only things you could buy on the street.

"And then it became even more simple because Cosi [Fanni Tutti, member of COUM and Throbbing Gristle] started modeling for porno magazines and what were then known as glamour magazines, which meant they had no erections. It was simulated. I decided to archive them whenever I could. I would always buy three copies so that I had the fronts and the backs if I wanted to frame them, and one extra to play with for collages. But I still had all the extras from the other two as well. So it was opportunist or pragmatic. There was all this stuff piling up in my collage room and I was compulsively buying queen postcards and the two just went together. That was the raw material that I had at hand. And I always thought that one should improvise with that which was at hand."

P-Orridge is also an avid believer in Brion Gysin's theory of the cut-up, where the true meaning of things is only revealed when disassembled and re-assembled. The collage technique found throughout his postcards and correspondence art in general cannot help but fall in this category. However, this theory applied to sexual content adds yet another possibility:

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"The exploration of the erotic in a different medium. I didn't think the magazines were particularly erotic or sexy in themselves. They were very formulized. I was curious about what happened when you took one thing out of that context and placed it in a completely inappropriate one. Does it become more interesting? Does it regenerate its erotic quality? The naked body or sexual activity in an unexpected location or background without the usual context in terms of how things evolve. Would that surprise? Is that unexpected quality really the essence of what makes sex exciting?

"The actually grinding and wriggling around of naked bodies is ungainly and ludicrous more often than not. There are exceptions of to that. I would argue that if you could spend a great deal of time and beautiful lighting and ended up taking pictures where you couldn't see the penetration, so that what you didn't see were the ridiculous parts. What you are left with is this amazing smooth sculptural landscape in which you know the fucking is happening. That's the way that it becomes really beautiful. When it's abstracted by one. But once you make it purely graphic, the odds are high that it becomes ludicrous and far more animalistic as well,"

P-Orridge sees his work, as well as most of the more interesting work of the 20th Century, as deeply indebted to the cut-up technique.

"My belief is that the artist is really the explorer on behalf of the rest of society and the species that the job of the artist is to go to the moon first, so to speak, or to climb the mountain first, or to go to the bottom of the sea to see what's there. That's the job of the artist or the poet: to find out what's coming next, what it's made of and what it might mean. And the actual art itself is just metaphors aimed at describing the research and the discoveries that we've made. That's why I call it cultural engineering."


And how does this apply to the sexuality aspect?

"I think we're going through a huge change in terms of sexuality. People are misunderstanding what is happening now that we have the world wide web and probably more so-called pornography available and live sex and sexual images and images of desire and even cameras inside dildos. I think that this actually is the last throes of a misconception of what sexuality actually is, and, in fact, a desperate attempt by a lot of people who have been mislead about the nature of sexuality to convince themselves that the material is actually reality. That if you see enough cocks and you see enough cunts then that must mean it's sexy. You see more people doing more things and somehow that maintains the status quo, the old way of looking at the world and looking at the body, but like all revolutionary changes they happen regardless of what the previous generation wanted. So I see that all as a Nietszche death throe of the old way of seeing sex. And similarly with the magazines. More graphic and more color and more variety does not new information make. It 's the classic problem of consumers, which is addiction. Addiction in and of itself is meant to never satisfy. That's the whole point. People don't get something twice if they are satisfied the first time. So the whole premise of pornography and society's projection of sexuality is that it has to be false in order for people to keep coming back. So the whole image and the precept is to trick people into being forever dissatisfied and incapable of satiation.


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"My proposition would be on several levels. First, the real purpose of sex is to believe in the possibility of union with the divine. That it's a magickal and spiritual metaphysical act. In a sense it's poetry. Poetry is about leapfrogging consensus reality to some more incredible place where the world is revitalized and the vision is renewed. It's very sad that people don't get taught at school concepts of sexual magic and guided orgasm and plateaus and techniques and concepts of looking and being and behaviors that are about being something more than human.

By re-posturing these images within mailart or other mediums, the artist is in effect bringing the mind back into the erotic process.

"Re-activating the mind and re-activating the whole concept of sexuality and sex and sex acts and the body and de-mystifying it and at the same time enhancing it in a metaphysical way. All are small messages, small pieces of propaganda that in and of themselves I see as triggers and I call the whole process "Thee Seeding Ship." I think that's how culture works, and I think that's how culture gets changed, too. So while I'm happy to be seen as silly and fun, I also believe that there's an innate invisible impact that enables one to become actively involved with the direction that culture moves. And I would argue that the fact that I was suppressed and so attacked vehemently so many times purely because I chose to work with sexuality and erotic images all the way through all the things that I've done would suggest that the authorities actually know about it. And that's why they control and manipulate and inhibit people's sexual expressions Because they are very very aware of the hidden power of the knowing use of the potential of sexuality. And one of the greatest services we could do for mankind would be to push them towards a place where they had a candid spiritual respect for the incredible potential and power of sexuality. It's very possible that the entire universe is breathing in a sexual way."

These images are from Genesis P-Orridge's various correspondents who dealt with sexual material, as well as his own. His new work, a collaboration with Eric Heist entitled the Candy Factory, will be shown in February at Team Gallery in New York. For more information, check out: http://www.genesisp-orridge.com/


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                                                       22_Vile

Information on Ted Little saved from Gen's "next-new-way-on" official site circa 1999

Ted Little originally ran the Birmingham Arts Lab in the 1970's. After moving to London to contemporise the I.C.A. Theatre and downstairs he championed all the new musical, fashion, and theatre spectaculars that were erupting in London at that time. Despite immense pressure from the Arts Council, and in the end the Government itself, he never backed down on what he believed was radical and relevant in the arts. Without him COUM could not have become as legendary and significant as they are. Nor Throbbing Gristle have been elevated into the public arena as effectively or fast. The Industrial Music and Punk Rock scenes of London in 1976 owe a huge debt to his vision, courage, and fabulous sense of humour. Malcolm MaClaren's "SEX" shop exhibited in the corridors and café. The Clash, The Damned, Siouxie, The Subway Sect played in the theatre. Throbing Gristle unveiled themselves in the large "Art" Gallery along with "LSD" (Chelsea, later Gen X) and COUM Transmissions confronted head on the moral, political, and artistic hypocrisies of their day.
-Genesis

Circa y-era 1999 Genesis website message :PERMANENT EXPLANATION and "APOLOGIA"

Brief message i had saved from Gen's "next-new-way-on" early website.

PERMANENT EXPLANATION and "APOLOGIA"

Genesis P-Orridge writes :

Dear website visitors. First we must apologize for having been "virtually" absent in the news realm for a few weeks. Because here at the Next New Way On project we are working on so many fronts at once sometimes we fall behind. The scope of what we are hoping to upload is huge. First there is an actual museum quantity of recordings, correspondence and artworks documenting the journey through popular culture of Genesis P-Orridge. The more we look at in the archives, the more daunting and complex it seems. There is substantial material relating to interactions with the Beats; Jajouka; 1970's Performance Art and Actionism; Mail Art and Fluxus; the origins of Industrial Music; to some extent the origins of "rave & techno" culture and then many remarkable people who have been met along the way. As if that isn't enough, there are several ongoing and new projects evolving simultaneously and parallel upon which the same few dedicated volunteers are applying all their skills.

One way we try to activate some of the ideas and speculations inherent in this search for metaphysical truth and worldly peace of mind, body and soul is to co-operate as often as we can with the makers of films and documentaries and the authors of books. That way the maximum people can access the works if they so chose and to some degree the work is preserved for a future and even effective, relevant and culturally energized for a whole new generation of seekers after the grail of expression, art and divinity.

So do please remember that in our silence is probably the germination of another special perception of this ongoing mystery of being alive, on this planet, within linear time, in the so-called (Western) year 2000.

Each month we shall try to tell you everything that is happening here. Various releases, live events, significant momeants in our lives and thoughts. In the end we shall have a unique journal of what it is like to be inside and outside of the mind of a creative and dedicated group of Cultural Engineers.

Thank You from all at the N.N.W.O.

copyright next-new-way-on NYC 1999

Monday, July 5, 2010

BREAKING SEX

S/HE IS HER/E)


This is the final war, a jigsaw
A war to re-possess your SELF.
There is NO gender anymore
Only P-Androgeny is divine.
Sexuality is a force of nature that cannot be contained. Get up.
Stand together in perfecting union,
Join and love equally the man and the woman separated at b-earth inside you,
Their first cries for justice …PANDROGENY!
Re-united as one
Identity is your only possession,
as a being possessed
Re-possess your SELF,
Be possessed by YOUR self,
Any SELF, every SELF you ever dreamed of,
Every SELF you were ever afraid of. GET UP!
Stop this war of limitations,
STOP IT!
Now YOU own yourself.
Your own YOU own.
Now it’s YOU.
Stop being possessed by characters written by others.
Change your ID card cut it into the shape of a HEART.
Be heart felt.
Feel your heart,
Your heart is your art.



Re build your SELF from the FOUND UP!

Identity is theft.
(IDENTITY IS THEFT.)

NOTHING SHORT OF A TOTAL GENDER

These puppeteers of the NEW WAY ON,
Download slave software into your brain
Even as that wriggling , cocky, tyke breaches the cellular defences,
Its resources stretched taught,
Thinner than a condom on a monstrously seductive,
Destructive cock.
POP! POW! Snap! Suck!
Snake of Eden rigid with victory
Jissom of control victorious
the arrows of sex penetrate egg central And, spiraling downwards, downs its load,
The double bluff,
Double helix story of those chosen to come before.
Chosen, without choice,
Not you. KNOT YOU!
Knot this AND, this DNA,
This STRAND, stran-dead,
STRANDED
Strand-DEAD on arrival,
Slapped into shape by your DELIVERERS.
A pre-recorded software,
Worn down through ages with one purpose,
To serve the rich, service their itch,
Supply each demand.
Obey each command.

(CHANGE THE WAY TO PERCEIVE AND CHANGE ALL MEMORY)

Struck dumb by its ELEGANCE says CRICK,
Elementary says Watson.
The double helix leaps from lab to life,
With YOU as the lab rat!
Whose elegance?
Whose elegance anyway?
Two spines, once twins, that go their separate ways after 49 days,
Yet… remain inseparably linked
The edit points, invisible.

AND/DNA there-in lies the problem and the lies begin.
In the beginning ALL were perfect. The first man was the first woman.
The first woman was the first man.
UNTIL the whispering began…
AND/DNA the first man became the first man
The first woman became the first woman
AND/DNA then all HELL let loose
AND/DNA we’ve been living (t)here ever SIN-ce
Know matter HOW sin-cerely…

(POSSESSION IS THE GREATER PART OF VALOUR)

You are vital.
You are vigorous. Get up.
Stop Hiding.
We are ultra-genetic terrorists.
One man is another man or woman.
EVERY MAN AND WOMAN IS A MAN AND WOMAN
There is a time and place for everything indecent.
Redesign yourself.
YOUR SELF.
End your social and sexual misery, taste the sweet electricity of PANDROGENY!

“This time around you can be anybody”

Put away your toys and focus.
WE ARE BUT ONE BITCH!
We declare war against all binary systems.
We support SELF-determination and liberation.
Total freedom for all possible and impossible identities
and sexualities.
DESTROY!
Destroy Gender.
Destroy the control of DNA and the expected.

Do you understand?
Here’s the key.

You were in your mother’s womb for forty-nine days an androgyne.
Who chose your gender?
GOD?
Society? Family?
Only by YOU ending this separation, Returning to that first pure state can real freedom begin. When all are but one sex, one species.
This is not about becoming an Other,
This is about returning to a state of perfect union.

Masturbation is the highest form of magick
SO tap into the psychic network.

There is no free speech, ONLY an illusion of freedom.
Freedom of delusion …

Perhaps GOD was breathless, allergic to cosmic dust.
Despite its three billion years HEAD start on us at this PERSON building, this character building.
One KEY point is oft forgot. AND/DNA alone, on its OWN does NOTHING!!
NOTHING!
NOTHING!
NO-THING!

It can’t make eyes brown or green,
or brains,
or any other electrically charged “muscle” bulge!
It can’t sit up, or apply make-up,
Or keep itself clean,
Not even adjust a wig.
PROTEINS do all that.

CREATIVITY is your anti-gender protein.
Stripped of who YOU are, stripped of the creativity that IS character DNA/AND is helpless, speechless, dead on arrival again!

WITHOUT THE SCENE FORGET THE GENE

Society has always been an enemy of the desire to create,
Of all possible creativity.
What am I saying to you?
Nature began as a deliberately chaotic force FOR change.
Constant change.
Evolution, evolving, unfolding.
All those redundant species wither. Those embracing novelty leapfrog them to dominance…
Maybe with a little inter-species cross (and loving) fertilisation along the way.
Creativity is the most POWER-full energy in the Universe.


Why it’s even endorsed by GOD in his book, Genesis, THE FIRST BOOK OF CREATION.

And its CREATION, that breathes LIFE into clay, And all we know, each weird and damaged last one of us, each child man woman lurking amongst you, raising their living voices to be heard outside, by others, by others BEING as they mill around in their biolo-illogical suits exploring mortality, sexuality, and linear time. It’s all these marvellous characters constantly re-inventing you, that demand LIFE. All of them are vAlid, each with their own agenda. Fulfilled, or frustrated according to the amount you listen to them and acknowledge them. They love to be alive. They have a right to be considered.

AND/DNA
REMAIN ALIVE!
Remain alive.
Never before has a generation, drowned in mortification, felt such a rage to live.

Needs satisfied by power in satisfaction of needs.
POWER satisfied by needs satiated by greeds.

Jolted, deafened by the racket of meaningless gestures we are built by parents, schools, corporations, pop media feedback loops, mimicking our idols, the fame whisperers, the para-medics of character. Culture, like a monstrous, relentless Cathedral Engine rolls us flat and colourless, grey as the granite gargoyles, the CEO of entertainment business. Forget not that once upon an androgenous time, CREATION was the act of DEITIES. A divine calling, with ART as its mirror in LIFE, an act of devotion leading us towards that wisdom that has no NAME, no gender. Don’t speak to me of GOD and GODDESS. Words used by those in earthly control to render impotent and in conflict ANDROGENOUS PERFECTION, divine expression…FREEDOM to BE BEINGS!

Control those cathedrals of hell where adolescence repeats, shattering like bullets. Submission butchering youth’s energy. Life cracks in every direction.

True needs discoverable by liberating ourselves from the constraints of dominant sexual stereotypes, genders, identities, roles that rock.

There will be revolution, there will be sex revolution with homosexual revolution.

Are you out is nothing.

To throw off the shackles of experience of true sexual freedom and physical love, free love! End gender. Break sex.

Smash your closet relationships.
Your closest friendships.
Cut your SELF up, break every pattern of behaviour,
Every taboo, every inhibition…
To see who you really are?
To see who’s really there.
Free yourself from sex.
The more detached one is from a role, the easier it becomes to form.
IS IT YOU?
IS THIS CONSTRUCTED PERSON YOU?
DID YOU DESIGN YOUR SELF, YOUR CHARACTER?
WHOSE MOVIE IS THIS L-IF_E YOU’RE IN?
WHO IS DIRECTING YOU?
THERE ARE MORE THAN ONE OF YOU, MAYBE HUNDREDS TO CHOOSE FROM
They wound each other. Armed to the teeth, the enemy wants to fight on the terrain of roles.
All roles alienate, are despicable. Behaviour conceals alien demands, permissible images that glimmer through the logical screen.
Role over,
FIND YOUR “TWIN”
Roll over ROLE OVER, delusional time run out,
OUT YOUR SELF, build your DREAM CHARACTER
GENDER-LESS
GENDER – FREE
GENDER-QUEER
accept the magickal fuck,
NOTHING SHORT OF A TOTAL GENDER!
End a miserable corrupt existence.inherited conditioning from another species, maybe another planet. Who fucking knows?
WHO FUCKING NO’s!

Everyone is bisexual, is completely of natural sex.
The origin, the original, the PANDROGYNE
The PANDROGYNE the source of all possibles, the resolution of all conflict.
As above, so below. Even as I speak the Pope says, “GOD” is neither male nor female…
Dominant ideology neuters and controls us.

Unleash orgasmic energy in an era of primal release healing.


THEY GAVE ME DNA / AND TOLD ME THERE WAS NOTHING I COULD DO ABOUT IT.
ONLY ONE STORY, ONE MOVIE.
IN A WORLD DIVIDED IN TWO,
IN TOO A BINARY LANDSCAPE
DON QUIXOTE OF ANDROGENY
SEARCHING THE FRACTURED GARDEN FOR ALL THE PIECES OF THE JIGSAW PUZZLE


LOOKING AT THAT BIG PICTURE
LOOKING FOR YOUR OWN PICTURE
LOOK AT THAT PICTURE
LOOK AT THAT PICTURE IS IT PERSISTING?

THERE IS NO REASON ON EARTH WHY YOU SHOULD EVER RUN OUT OF PEOPLE TO BE,
TO BECOME,
TO BE WITH
BEING
BEING
PANDROGYNE
POSITIVE ANDROGENY
POWER ANDROGENY
POTENT ANDROGENY
PANDROGYNE
WILD
BEING
UNHOLY
CHOSEN ONE
UNIFIED
UNION
OF
BEING
BEING
THE FIRST
OF WHAT COMES NEXT
NEXT
NEW
WAY ON
OR
OBLITERATION….

Sunday, November 1, 2009

Genesis thoughts on 9-11 sept 2001

from the next-new-way-on version of the Official genesis p-orridge website.


GEN-ERAL MESSAGE:
Dear visitors to NNWO. It has been too long since I wrote an update on what is happening. It is hard to explain why, apart from having been busy with the L-if-E part of everything. One thing that I do feel, at this point in time, is that to write, communicate and work on content, exchange and ideas is more important than style or expectation on our site. So I intend to be more conversational and regular in uploading as much information as possible. We'll point to websites of friends; I will begin a journal; we'll try to increase the overview by cataloguing what we can. Please remember we have to do all this, fitting it in between trying to survive in every possible sense. Since the 11th September here, this seems even more important and relevant. We used to see the WTC from our roof. We could have watched the collapse, but it is a personal thing at NNWO, and certainly for my SELF that I would never knowingly watch people suffering and dying no matter how distant, surreal or abstracted. There's enough in our news zone to cover some of what that means. But living in New York right now is weirder in terms of a collective human psyche and trauma than anything I have experienced or imagined. Ok…so somehow, thiese months, and recent events made connection, sharing, and thinking…the raison d'etre of NNWO and other creative sites, a more vital and worthwhile activity. Instead of being an extra illustration to L-if-E and action NNWO shall be an essential illumination of being. So here we are. More personal. A little more intimate, less considered. Spontaneity, novelty and improvisation to see what happens…cutting-up experience and the momeant to see what is really there. That's all my L-if-E really has been. Sharing my thinking, reactions, actions and emotions in what is ultimately an act of trust through vulnerability. At the centre of each thought and each flash of existing I give my SELF to a search for deeper L-ov-E. Here I am…and here I live, with Miss Jacqui, with all with whom we become connected amongst this weirdness called L-if-E. I hope that as T.I.M.E. goes by, as perceptions are exchanged, shared, that this site will become at the very least a modern form of perceptual encouragement. A mirror of the Individual within a flowing but chosen extended famille. It seems more and more apparent, in the end, that CREATIVITY in all I.T.'s forms is the essence of "soul" and the Divine, as James Hillman suggests, and I and the NNWO concur. We are here, in matter, for the purpose of building a soul in order to experience separation from an endless original consciousness temporarily, so that we might become SELF-consciousness and return with wisdom and coumprehension back to that source of soul. We are born from beginingless T.I.M.E., in order for all consciousness to know I.T. SELF. Thanks for coming here. We hope you will come again.
Genesis P-Orridge



Here is an earlier post that was up about 24 hours after the Attack happened...

NNWO MESSAGES FROM NEW YORK CITY:
Dear Individuals and allies of the Next New Way On,
Here comes the beginning of the expected tests. All that is unfolding in terms of rhetoric and jingoism, that is the old way. Hatred feeds hatred. Innocents are victims. Those who survive are embittered and some seek retribution. A true cycle of escalating violence. There must be ways to awaken and breathe and re-touch the hearts of those who believe they are our enemies, just as they believe we are theirs. The common, decent human beings are the food of all control and devastation. The raw materials used to generate submission in an opposing idealogy. The Next New Way On must be inclusive, forgiving and compassionate. All killing acts like a beacon for more killing and we remain at the mercy of outdated survival mechanisms.Remember all ways, each atrocity grows from someone else’s seed of loss and is fed by lust for revenge.I cannot believe in any angry "God"...we must choose to believe in kindness, and compassion, and love. One of our dear friends, Little Annie has a useful list for those of us in New York who have seen the images of an evil possible future in an abomination in the present. The most common remark we hear in New York from all people is, "Nothing will ever be the same again." And the depth of the horror that is embodied in the numb tones with which it is spoken defines dread and sadness in ways that we can only guess compare to survivors in Hiroshima. The other most common statement is, "This will happen again now, won't it?" and all reply like a litany of forever altered beliefs..."Yes."So, for those for whom it may be relevant, here are ways to GIVE towards some new, evolving nature of "peace".Thank you Annie.This is a message from Little Annie's List!


Dearest all,
Firstly, I hope you are all safe along with your loved ones.For my fellow New Yorkers, I know your all very much aware of the nitemarish quality the last few days have had. I watched the second plane crash into the World Trade Center, and stood there in dis-believe as it collapsed a few minutes, or was it longer later. Maybe it was the B movie-like quality or just plane old shock, but today for me was worse. I had the right 'papers' to get past the 2nd checkpoint on Houston Street to get to the exchange (there limiting people according to neccessity, as not to inhibit rescue workers and for obvious security reasons. The fire man and police looked sad and exhausted. Their loss of co-workers have been enormous. whole engine companies are missing. A yellow cloud hung from Canal Street (the third checkpoint) down. It looked like an eclipse. People looking for loved ones could go no further, and passes notes to those who could. Once past houston the streets were empty. A film of grey dust covered everything. The burnt smell is unmistakable.Tonight on 14th street a fireman told me they had run out of paper masks, that they had been sent to those workong down town. These are just one of the things, that know one knew would be needed in such numbers.Ive been sent the following list and asked to pass it on. Besides emergency numbers, it contains contacts concerning who's collecting what. Not on this list is the makeshift morgue and rescue center at the Chealsea Piers at 8th Street and the West Side Highway. As of this afternoon they needed plastic bags, tylenol, bandaids, dry socks for the rescue workers. I was their tonight and its a bit chaotic, so you might have to ask around a bit. I also saw sighns asking to listen out for neighbours and friend animals who might be missing so you can get in to feed and water them if need be. Please pass this info on an add more contacts that you've heard of, or get the info to those in need. Though the last few days have show how brutal humanity can be, the endless acts of kindness I have witness, this list compiled and sent to me being one of them, have outweigh that a million fold.Thank you, bless you,Wishing you love, safety, health, and strength
Little Annie


Here's the most pertinent information:Emergency contact information:Airlines:Friends and family who wish to check on passengers and flights may call:

American Airlines, 1-800-245-0999

United Airlines, 1-800-932-8555

World Trade Center businesses:Emergency number for Morgan Stanley: 1-888-883-4391

Emergency number for Carr Futures: 1-800-755-7620

Emergency number for Cantor Fitzgerald: 1-866-326-3188

Pentagon personnel:Pentagon employees only are asked to check in by calling 1-877-663-6772

Justice Department:The Justice Department's Office of Victims of Crime has set up a phone line to provide information to families about victims and about services for survivors and their rights: 1-800-331-0075

Emergency response/relief efforts:The American Red Cross is in need of blood to replenish the nation's supply. Call 1-800-GIVE-LIFE to schedule an appointment near where you live.
The New York Blood Center has also announced a blood emergency for the greater New York/New Jersey metropolitan area. Visit http://web.archive.org/web/20030212181534/http://www.nybloodcenter.org/ for more information on how to help.

For more information on helping victims of the U.S. attacks, visit Helping.org

The United Way of New York and the New York Community Trust have established a fund to help the victims of the attacks and their families. The September Eleventh Fund will provide immediate support to established emergency assistance agencies. Anyone wishing to contribute may send their donations in care ofUnited Way2 Park AveNew York, NY, 10016or call: 212-251-4035Donations are also being accepted on United Way of New York City's Web site: http://web.archive.org/web/20030212181534/http://www.uwnyc.org/.

Donations are being accepted at Feed The Children

Japanese language assistance for relatives is available at jhelp.com or 1-800-527-2611

FBI tip Web site http://www.ifccfbi.gov/

American Red Cross, cash donations: 1 (800) HELP-NOW

Salvation Army, cash donations: 1 (800) SAL-ARMY
Army personnel Army personnel assigned to the Pentagon asked to call 1-800-984-8523This link below will contain help information of all kinds for the disaster that has unfolded over the last 24 hours. If you need info on ways you can help please check it out.Together we can all make a difference..

Saturday, October 31, 2009

june 13th 1999 posting by Genesis describing the "NEXT-NEW-WAY-ON" era of www.genesisp-orridge.com

NEXT-NEW-WAY-ON

"Your 15 Minutes Just Became Eternity"

GENESIS P-ORRIDGE SPEAKS ABOUT THIS SITE

Welcome! Thank you for visiting this website. As you will soon discover I.T. is still under construction. In fact I am hoping that I.T. always will be, for that would mean that we are not only documenting and preserving the past in our Museums, but also that we are also alive and kicking and very, very well as we move happily into the future or three. I thought long and hard about even having a website. In fact, when I left California in 1995 I threw my modem into the garbage and was proud, even elitist about NOT being online for a few y-eras. Why? Well the long versions of my thought processes regarding the possible nature of the internet/world wide web/ cyberspace ( what I prefer to call the PSYCHOSPHERE) will be uploaded at a later date in the writings zone of The Next New Way On. Suffice I.T. to say that I would consider it foolhardy to open a mysterious door to an unknown multi dimensional environment and immerse my SELF in I.T. without first designing and assembling a survival kit; getting the necessary vaccinations; stocking up on supplies; aquiring the most recent maps; the latest intelligence about potential hostiles; maintaining communication with my home base and shielding my SELF in the latest in protective and danger-resistant clothing.

MAGICK DEFENDS ITS SELF.
When I arrived in the U.S.A. in February 1991 I was surprised, and glad, to be located and welcomed by the alternative cyber-community in California and by the embryonic Rave scene. In particular R.U.Sirius, Queen Mu and Jas Morgan of MONDO 2000; John Perry Barlow, Michael Horowitz, Terence McKenna, Jaron Lanier and Dr. Timothy Leary introduced me to what was then (yes I.T. really was not so long ago!) the cutting edge ideas and excitements of the web, computer networks, "The Well" and free-flowing, radical, visionary and subversive-for-the-joy-of-I.T. post-psychedelic artists. People with passion who didn't fit in to, or didn't want to fit in to consensus reality networks and who had therefore constructed an alternative "virtual" reality where they could play and interact by themselves, for themselves, and this is the important part, without obligation to others, without censorship imposed by vested interests from above, and by and large, without any high commercial necessities. Those were heady days of speculation, of imagining the final dissolution of all boundaries, mental and physical, neurological and political, corporal and spiritual, carnal and intellectual. I.T. enthralled me and, yet, at the same T.I.M.E., some undercurrent about I.T. concerned me.

Having lived through the 60's as a teenager, and felt these same adventurous and heady optimisms; then lived through the 70's co-conceiving and directing "Industrial Culture" with an outlaw community of transmedia activators surrounded by the co-conspirators of "London punk"; continuing on in the 80's mutating into an experimental, and experiential occultural catalytic community with Psychic TV and Thee Temple Ov Psychick Youth; I had seen each wave of idealism break upon the beach of cynicism, co-option, commodification, and repression in a repeating process.

THE PROCESS IS THE PRODUCT.
NOW! Please don't think I am discouraged (which, it's worth remembering, does mean lacking or diminishing in courage) because I most certainly am not. Nor have I become jaded. Nor am I tempering my Utopianism with too high a dose of realism. I remain today as dedicated to the cause of positive and insistent behavioural change of this peculiar L-if-E/form we call humanity as I was in 1965-ish when I began actively following my path and became known as "GENESIS". In a nutt shell my obsessively central motivation is, was, and WILLS TO BE, assisting in the chivalrous task of helping the human species to become a HumanE Species!

Sometimes helping can be as simple as being aware of one's own need to consciously make choices, momeant to momeant, day to day, L-if-E/T.I.M.E. to L-if-E/T.I.M.E., that contribute towards the inevitable truth that "WE ARE ALL PERFECTING". In my case, for whatever reason, being bullied at school, being a sickly child, chemical imbalances in my brain that made me THINK TOO MUCH! For whatever reason, I discovered my SELF compelled from an early age (about 5 or 6) to experiment with THINKING. To speculate endlessly day and night upon the possibilities and impossibilities of existence, L-if-E, God, mortality, behaviour, sensuality, "magick", feelings, emotions, art, work, play, sleep and in a sense, encapsulating ALL those and more, DREAMS. Weighty stuff for a skinny little guy with asthma!

As a result of all this, and an odd (still puzzling) compulsion to attempt to manifest, and make part of my L-if-E, any and all dreams that fascinated and intrigued me, I became an artist. More importantly, for you to get a feel for and understanding of the raison dĂ­etre of this site (and it's structure as expressed via design so fluidly by Eric Swenson) I, Genesis P-Orridge, hereby declare that I hyper-consciously made a decision in 1965 that L-if-E and Art in their highest and most divine expression were absolutely and incontrovertibly one and the same medium. Further, I made a pact with my SELF (that which I still truly consider to be my HIGHER SELF) that I would live my entire L-if-E, second to second, emotion to emotion, event to event, both through the creative filtering of and the awareness of being an Artist. with a capital "A"!

THE PRODUCT IS THE PROCESS.
Today, as I type on my Mac Performa 6400/200 Power PC, I.T. is 34 yeras later! Looking back, with kindness to my SELF, and with subjectively reasonable hindsight, I believe that I can say, or at least suggest, that I DID I.T! That I lived what I intended. Intention IS the key. Herein, on this site as I.T. grows, you will find a great many doorways, enigmas, and places of chaotic information. Even playgrounds and challenges. Our challenge wills to be, and from my position as an Artist dedicated to a L-if-E/long and Individual sense of purpose, has to be to eventually build a website that mirrors, as exactly as technology allows, the way that Genesis P-Orridge thinks, creates, and speculates and how that has manifested in the public domain of Popular Culture, occulture, performance, and fine art since his active acceptance of the ĂŹmysteryĂź of searching for the ĂŹgrailĂź that is secreted within every thing, every action, and every momeant.

NOTHING SHORT OF A TOTAL WAR.
But back to 1991. Why was I worried? I.T. all seemed too good to be true. Scary to think that huh? I.T. seemed so frail, all this idealism, this "finally liberating the brain and spirit, perhaps even the soul", this annihilation of nationalism and corporate dominance, this cheap phone line FREEDOM and connection.

We enjoyed such a marvellous T.I.M.E. of uninhibited community and outrageous optimism regarding the implications of building an all-seeing, all-pervading, all-powerful rendering of proxy-divinity and even immortality.

(At this juncture I must confess, of course, that I my SELF had been a vocal proselytiser of freedom of ALL information for ALL for as long as I could, literally, remember! For all these opening ups of synapses and scenarios I must say a huge thank you to all those already mentioned, and the hundreds of others I met along my way).

However, an early key text of mine that is still sometimes reprinted, or uploaded, was titled "NOTHING SHORT OF A TOTAL WAR-THE ONLY REAL WAR IS INFORMATION WAR". Today, even more literally, this remains true. As each new territory is opened up and colonised by waves of the courageous, and adventurous, the reckless and the mystical whose motives are inately, even naively, selfless, I.T. draws the attention of a second wave of those whose vested interests are more or less genetically co-dependent with "CONTROL" and, of course, whose motives are inately selfish exploitation keyed to the lowest common creative denominator for maximum influence and returns. What makes this remain so exciting and hopeful is, regardless of agendas, strategies, and moralities, we are all soaking into the same beach.

THE FUTURE LEAKS THROUGH.
(I wonder if, by NOW!, you are wondering, what the hell has this to do with a web site? Web sites are meant to be at the service of the visitor, to pander to their tastes, reinforce their extra-curricular, or intra-curricular interests, facilitate consuming, or to solidify already sacred beliefs or philosophies.

Well, that is exactly why I am here, asking your patience as we grow. Explaining well in advance our INTENTIONS, as much as we can today, for we hope, in the end, that this site, with your active/passive participation over yeras and even hopefully beyond our L-if-E/T.I.M.E.s, will become a shining, shockwaved, freeflowing, speculative, encyclopaedic repository of ALTERNATIVE ways of thinking, being and seeing. More importantly, I.T. should be a metaphor that is also an exact description of a way of L-if-E and the very structure of the site, and how I.T. works as you navigate I.T. should, as far as possible, reflect our ideas as much as the content.

The Next New Way On hopes and intends that through the retrospective foundation of zones within I.T. like The Final Academy; Thee Museum Ov Magick; Allies/Godstars/Avatars; Meta=Physics; Breaking Sex; Libraries; Art Galleries; Links and Spillages; Journals and Speculations, and on and on an attitude towards L-if-E and creativity will be illustrated and evolved by implication, by interaction and by positive examples. An organic process of discovery not a singular and fundamentalist blueprint trapped by linearity, but, quite literally, a NEXT-NEW-WAY-ON!

(p.s. By the way, I apologise for my long sentences, but it's just the way I think and I trained my SELF to try and type as nearly as possible precisely what I am thinking at any given momeant in the hopes THE FUTURE LEAKS THROUGH.)


PULLING A MIRACLE OUT OF A HAT!
I was at Dr. Timothy Leary's home one day in 1993 and was surprised to meet a "think tank" of what, at that T.I.M.E., were considered the greatest experts on the evolution and nature of the internet and the world wide web. They had, they told us, been given the profits of one days trading on Bill Gates shares as a research grant. Supposedly this turned out to be about 10 million US. dollars! Their brief was to travel around having discussions with the "brightest and most creative" conceptualists involved in cyberspace in order to develop templates that would enable corporations, goevernments, and interested parties to "privatise police and make profitable" this new territory.

Please be clear, I am neither criticising nor judging this phenomenon, nor those involved, who were all incredibly fascinating and fascinated. But the process of co-option had begun, had surfaced, become visible and active. Since then, quite amazingly, their suggestions and prophecies have exploded into our lives, politics, warfare, eroticism, communication and economy. Yet, that was only 6 yeras ago! Nobody around that table that day, sipping coffee, speculating, parlaying structures, or advising caution as I inevitably did, could, I truly believe, have guessed how rapidly all this would grow. Or how quickly the "citizens of the technologically advanced world" would embrace the web and internet so completely that already almost everybody takes I.T. for granted as if I.T. had all ways been there, like wheels, cars, telephones and television. An unquestioning acceptance of this blanket of unknown potential in every possible interpretation and application has taken place that in and of itself is unfalteringly uncritical and complacent.

CONSCIOUS SELF CONSCIOUSNESS.
As I.T. happens I was born in 1950, in Manchester, England. There were few televisions. I remember there being only one, ours, in my street, in 1952, and neighbours coming round to our house to watch Queen Elisabeth 2nd's coronation. Records were still 78's and shattered like glass if you dropped them; tube wireless' were our main source of entertainment; some post-war rationing prevailed; newspapers still supplied news; telephones were a luxury; cinema matinees a marvel. Whilst I was a teenager in the 60's there were no cassette players, no CD's, hardly even pocket calculators. But at least now if you dropped a record it didn't shatter!
Perhaps this chance positioning of my birthdate at the half-way mark of the century's progress has given me a fortunate vantage point of cultural observation. I have witnessed the ever accelerating information and disinformation technologies and their embracing by a less and less critical or questioning general population. In fact, I.T. seems we have reached a point where technology is considered inately benign and in our best interests, or irrevocably omniscient, omnipresent and omnipotent. As if, in the tradition of the great pyramids, we have built our own representation of "God". In fact, I.T. might be useful to consider the "psychosphere" as just that. The 20th Century's rendering of "GOD". Our very own equivalent of Stone Henge, and a new "wonder of the world" to be visited in awe and bewilderment by beings thousands of y-eras from NOW!.

All this is fantastic. Nevertheless, the levels of instant gratification, and passive acceptance that our species is being trained to accept unthinkingly continues to concern me. When every being is connected to every other being and all experience is a recordable and public phenomenon will privacy become THE FINAL TABOO? Yet here, ironically, I am. Here we are. Communicating (I hope) together to some degree. Even more ironically, here is a website, being built by us, for you, despite my/our reservations about the medium. Why?

SEE A CLIFF, JUMP OFF.
Firstly; the Next New Way On website is intended to maintain a domain where those initial excited speculations and debates of the early 90's might be preserved, even expand and continue to the mutli-functional benefit of us all. The Next New Way On aims to initiate, create and facilitate a quaquaveral cultural and behavioural dialogue. Not just by chat-rooms or e-mails, but by structure, implication and perceptual example. Choice of content is a language just as much as the written or spoken word. Editing is the "invisible" language of cracks, joins, fades, and point of observation. By a knowing use of these new, hidden, but immensely power-full languages and of playful, digitised interaction with information in and of its SELF, for its own sake the Next New Way On wills to trigger an higher expectation and cognisance of the infinitely exploding galaxy an Individual enters each T.I.M.E. they log-on. Our aim is wakefulness, our enemy is dreamless sleep. If the Next New Way On can pass on to you an appreciation of how significant and potentially hazardess immersion in worlds programmed and limited by the motives and/or imaginations of unknown others, some with hidden, covert or even unconsciously driven agendas, then we shall have succeeded. Know thine enemy and assume that if something seems puzzling or malignant the answer is always held in the hands and forces of those with a vested interest in its manifestation.

Secondly; the Next New Way On intends in every possible and impossible technique to serve the established and spontaneous appetite for information and documentation about the L-if-E, projects, thoughts and times of Genesis P-Orridge. There are so many misconceptions, eroneous pieces of "faction" and incomplete biographies jumbled up and scattered without form or overview out there. Yet there is obviously a genuine and ongoing curiousity. The Next New Way On have discovered more than a hundred sites devoted to or including data on Genesis P-Orridge and/or some of the more visible cultural engineering projects that he has initiated, founded, co-founded or actively participated in.

The Next-New-Way-On regards all these websites as allies, regardless of their editorial position. Everyone is telling the truth all the T.I.M.E. There is obviously an enthusiastic and intelligent interest out there in this weird and wonder-full ether. As often as possible the Next-New-Way-On wishes to build two-way links between as many sites as possible; eventually not limited just to Genesis P-Orridge, but to any topic, thought, or area that seems significant or stimulating and pointing, no matter how obliquely to a NEW WAY ON. With the arrival of Simon Ford's definitive and lengthy book "THE WRECKERS OF CIVILISATION" describing the origins and story of COUM Transmissions and Throbbing Gristle an entire reappraisal and vindication of Genesis P-Orridge's ideas and actions seen, with hindsight, to stand appropriately in the current of contemporary art history and popular culture has obviously begun.

Rather than ignore this interest it seems to be a duty of the Next New Way On to share as much as possible of the voluminous and far-reaching TRANSMEDIA archives of the L-if-E and T.I.M.E.s of Genesis P-Orridge, cultural engineer. I.T. will take quite some T.I.M.E. to catalogue, scan, transcribe, and digitise this huge body of works. But that is a primary aim of this site. I.T. is a formidable task. There are direct links with fluxus artists and renegades like MONTE CAZAZZA in the 70's; the beatniks Brion Gysin and William S. Burroughs; the Islamic Brotherhood of The Master Musicians Of Jajouka; Agori Baba's in Nepal and Santeria Baba's in New York; psychedlic pioneers like Dr. Timothy Leary and rhythm and blues pioneers like Brian Jones. And on, and on, and I.T. hasn't stopped because Genesis P-Orridge remains prolific and active in every medium as he scries the "culturally inevitable for the culturally ineffable".

The Next New Way On has no funding right NOW!. Which means I.T. is editorially fully independent, obligated to nobody, under no economic restraints except those of the basic expenses of hardware, labour, and duplication. To facilitate and maintain our autonomy and clarity of intent Genesis P-Orridge has agreed to gradually sell off memorabilia, artworks, documents and recordings from the past in order to finance and manifest a future and a new exploration through the medium of this website. That is why the Next New Way On shop is in place. Hence the legend, "SELLING THE PAST TO BUILD A FUTURE". Any support you can give by buying items directly from this site will be greatly appreciated and accelerate the density and depth of how the site operates and entertains and how comprehensive the museums are. As soon as there is a surplus of income the team of Individuals at the Next New Way On can be increased which in turn will accelerate and improve all aspects and services of this site.

NECROENEMATICA
Thirdly: Apart from my conceptual and speculative concerns about the uncharted and potentially hostile environments of a psychosphere in progress that is being uncritically constructed regardless of inter-dimensional, moral, and political hazards leading me to throw away my first modem. I had another reservation about all this. The way I.T. looked and worked. The depth of the experience in a sense. Here were all these fabulous minds, incredible technologies and visions but when I.T. all boiled down to I.T. what was being accessed remained flat, archival and sluggish.

THE UNIVERSE IS KIND.
There I am, walking along Avenue A in the East Village of New York, minding my own minding, when I hear a voice speak my name, as one does. I looked up. BLAM! Epiphany...Eric Swenson! He promised to send me copies of his CD-ROMs, which he did. I popped the CD ROM into my computer and was assaulted with a huge, obnoxious noise that I could not turn down. BLAM! He had my attention. I was blown away, and I.T. had nothing to do with expectation, or even content, or style. All of which we all know are arbitrary, contrary and subjective no matter how one camouflages I.T. and don't kid your SELF. No, what had happened was that someone had put onto a CD-ROM disc exactly the kind of instantaneous, provocative, NEW, power-full experience that affected eyes, ears and brain similtaneously that I had dreamed would be possible from the first momeant I was confronted with computer possibilities in California back in 1991.
(By the way, I absolutely recommend that any and all visitors purchase BLAM! #'s 1,2,and 3 as soon as possible.)

NOW! There was a chance to make the computer, and more importantly, the users of computers, sing for their data. NOW! I.T. was exciting again. Yippee! Needless to say, Eric Swenson was contacted and the "inevitable", that quality of popular culture that screams unnoticed to the commercial mainstream desparate for a novel voice, was exposed and initiated. Swensonia agreed to design and push to the limits the parameters, navigation and eventual interaction of the Next New Way On.

Please be patient, therefore. I.T. is intended that, as T.I.M.E. and income permit, this site will raise the ante on what any website can be in every possible and impossible sense. There will be linear areas, zones and rooms. Plenty of low band width to ensure maximum salacious reward for the greatest number.

However, as work progresses, and your support grows, new areas and zones will be opened up that operate under totally new agendas. The choices you make as to what you wish to view will affect the resulting status of your interaction. You might be ĂŹforcedĂź to deal with future plans, although you are obsessed with a past project, or vice versa. You might discover an animated section once, that you can never go back to again. There will be wormholes, and mirrors, tricks and treats. Imagine, if you will, a digital snakes and ladders.

Not so long ago I was asked in an interview what point I felt popular culture was up to? After some thought I replied that how I.T. feltto my SELF was as though previously we had all been in the same theme park, or funfair, but we had all been trying out different rides, at different T.I.M.E.s, of varying extremity and effect. NOW! I.T. feels as though, finally, and fortunately, we all find ourselves strapped into cars on the same ride at the same T.I.M.E. and this newly designed mystery ride is just about to begin. None of us knows what the ride is, only that I.T. is a totally new adventure. But for the first T.I.M.E. ever, we will all encounter the thrills and fears in unison.

The Next New Way On seeks to reflect this observation. By making a metaphor real one becomes a Cultural Engineer. If you think I.T. wills to happen, I.T. is your responsibility to manifest.

YOUR NEW WAY ON NEEDS YOU.
As we mentioned before. The Next New Way On is being deconstructed by a loose knit, but motivated group of cultural "outlaws". The greater the number of vistors, and the more finance that is generated by selling the past to build a future, the more rapidly deeper and more challenging zones of the site can be generated. Please be aware that I.T. will take some T.I.M.E. to realise this particular dream.

You, the visitor can help NOW! You can make links from your sites to the Next- New-Way-On immediately. You can track back at regular intervals to mark our progress. You can favour our online store when you purchase limited editions, records, multiples, and unique expressions of our other projects.

Later on you can offer labour, software or hardware to accelerate uploading and expansion of zones of particular interest and/or access points to new transmedia environments. The best dream is a dream without limits, one that responds and mutates according to the needs of its peoples and the chaotic currents of an occultural society. So here I.T. is. The B-Earth of a New Way On. Not the only way on. But the Next New Way On that reflects and is inclusive of, our particular community of dissident watchers, commentators, visionaries, and alienated allegiances.

Welcome! To www. next-new-way-on.com

YOUR FIFTEEN MINUTES JUST BECAME ETERNITY!

Genesis P-Orridge - 13 June 1999.