Exhibition: The Book of Evil Spirits, Chiara Fumai

28 January - 23 April 2016
Private view Wednesday, 27 January, 6-9pm

waterside contemporary

2 Clunbury Str, N1 6TT London, United Kingdom

waterside contemporary is pleased to present The Book of Evil Spirits, an expanded video installation by Chiara Fumai, and the artist’s first solo exhibition at the gallery.

The Book brings together a number of characters whose narratives Fumai has embodied in her performative practice to date. In creating this catalogue, Fumai enlisted the help of Eusapia Palladino, a 19th century internationally renowned psychic and medium whose séances were attended with conviction by the likes of Nicholas II of Russia, and Nobel-laureates Marie and Pierre Curie.

Participation in the séance requires a departure from the rational and the conscious; by calling on a medium - and becoming one herself – the artist bypasses cultural structures, and her own narrative method itself. Fumai has borrowed from an array of historical characters, often women in history who from marginal positions gained recognition for voicing their dissent. They have included the writer and activist Ulrike Meinhof, bearded lady Annie Jones, philosopher Carla Lonzi, and indeed Palladino, the artist’s muse. Fumai allows herself to become ‘possessed’ by them, and under the comfortable guise of re-enactment, hijacks their narratives for her own purpose.

In The Book, Palladino convenes the spirits of Fumai’s motley crew of evil spirits – activists, terrorists, freak-show performers, philosophers, all at one point alter-egos of Fumai herself – who collectively represent the fears of a bourgeois society. The artist’s camp parody is itself obscured by knowing anachronism and occasional bursts of uncontrollable stage violence.

The events are observed and narrated by the French scientist Camille Flammarion, Palladino’s contemporary and a scholar of mediumship, who takes turns with himself in affirming and discrediting what he sees. This place of misunderstanding and fragmentation is at the crux of Fumai’s production: presented with the sitting are various paraphernalia relating to the ghosts and the medium herself – a spirit board, collages of automatic writing, an anonymous message of warning spelt out in International Sign alphabet. ABCDEFGHIJLMNOPQRSTUVWXYZ Arrivederci.

Chiara Fumai (1978, Italy), lives and ‘unworks’ in Milan. Recent one-woman-shows include Der Hexenhammer at Museion, Bolzano, 2015; With Love from $inister at A Palazzo, Brescia; I Did Not Say or Mean 'Warning' at Fondazione Querini Stampalia, 2013.

Her recent group exhibitions and performances have been presented at David Roberts Art Foundation, Contour Mechelen, CA2M Madrid, 2015; Whitechapel Galley, De Appel Amsterdam, Nottingham Contemporary, Fiorucci Art Trust, London, 2014; MUSAC, 2013; dOCUMENTA (13), Kassel, 2012; Nomas Foundation, 2011.

more here

Event: Two Knocks For Yes

In October we’re working with Curtis James to curate a series of events that explore the link between photography and film and the paranormal. Join us as Miniclick contacts The Spirit Side…

Shrouded in secrecy, Two Knocks For Yes will incorporate talks, music, theatre and photography.

“In every story of things that go bump in the night, there are two possibilities. One, that it’s a hoax. Two, that there is something going on beyond the grasp of the human mind”.

And so begins Black Channels’ radiophonic exploration in to the poltergeist phenomenon that forms part of this evenings immersive entertainment, alongside a talk on the folklore of death and water by James Burt, ghost stories and archive video footage and photographs, all hosted by paranormal enthusiast, Curtis James.

Real life reports of paranormal activity, otherworldly vibrations and oscillations, chilling accounts of nocturnal visitations and strange activity in the most mundane of suburban surroundings will echo around the 19th Century stone walls of Saint Andrews Church, Brighton. There are tales of hauntings in the venue itself (no longer used for worship), and it is certainly true that the burial vaults beneath the pews have yet to be removed.

Doors open at 7:30pm. Performance starts at 8. There will be no admittance after 8.

Tickets are £6 and available here...

http://www.eventbrite.com/e/two-knocks-for-yes-tickets-18501509513#

+++

Friday 23rd October. Doors at 7:30pm, kicks off at 8pm.

Saint Andrews Church, Waterloo Street, Hove, BN3 1AQ

+++

(all money from ticket sales go to the performers and creators of this piece)

https://www.facebook.com/events/1476101159360253/

No Ghost Appears: Luciano Chessa’s Reconstructions of the Futurist Intonarumori, by Benjamin Lord

I. A Photograph Comes to Life

In every history of sound-art lurks a photograph of the Italian Futurist Luigi Russolo (1885-1947) and his assistant in Russolo’s painting studio with the intonarumori. Literally noise-intoners, these were musical instruments with delicious names: gorgoliatore (the gurgler), ululatore (the howler), stroppicciatore (the rubber), and so on. Played with levers and cranks, and housed in simple plywood boxes, the intonarumori channeled their gurgles and howls through large, speaker-like cones. Much in the photograph is obscure: the bulky boxes hide the internal mechanisms from view, and both the photographer and the precise date of exposure are unknown.

In spite of or perhaps partly because of its obscurity, the image has become famous, entrancing generations of artists and experimental musicians. Part of its allure is formal: the patterned spread of hexagonal tile on the floor creates a strong, almost diagrammatic perspective in the foreground, which then terminates in a jumble of boxes against the back wall. The effect is deeply classical, not unlike some paintings by the 15th century master of perspective Paolo Uccello. In the photograph, the two men appear dwarfed by the giant instruments. Together, they seem composed but slightly ill at ease, late-19th century men adrift in a 20th century world of inflationary geometries. The whole scene is suffused with the decline of the Belle Epoque.

Luciano Chessa, a musician and musicologist, has studied this photograph intensively for several years. He is probably the world expert on this picture and on its close cousin, an alternate exposure of the same scene with a slightly different arrangement. Ever since he began looking at the photos while writing his dissertation on Russolo (published in 2004), he hasn’t been able to leave them alone, mining them for their every minute detail as a documentary record of the instruments. When RoseLee Goldberg, impresario of the Performa festival in New York, invited him to recreate the instruments for concert performance in 2009, he began an extended project of reconstruction. At once scholarly and creative, Chessa’s project recreates a technique of the historic avant-garde, bringing it into the present in a necessarily altered form. Given its massive scope, it also raises historically complex aesthetic, political, and musicological concerns that have so far escaped serious critical review. This essay attempts to situate and evaluate Chessa’s remobilization of the intonarumori within each of these realms.

Read more here

Book: The Remarkable Life of John Murray Spear: Agitator for the Spirit Land

John Murray Spear was one of nineteenth-century America's most interesting characters. A leading social agitator against slavery and capital punishment, Spear also became the nation's most flamboyant spiritualist, inventor of “spirit machines,” and advocate of free love. In his captivating biography, John Buescher brings to life Spear's superlatively odd story. While no photograph or engraving of Spear exists, and his letters and personal papers are scarce, Buescher recreates in this book a sympathetic, even heroic, figure who spent the most energetic decades of his career absent, in a sense, from his own life, displaced by other spirits.

Born in 1804, John Murray Spear started his career as a Universalist minister. Later he was a close colleague of William Lloyd Garrison and Theodore Parker in the abolitionist movement, an operator on the underground railroad in Boston, an influential leader in the effort to end the death penalty and to reform prison conditions, and a public advocate of the causes of pacifism, women's rights, labor reform, and socialism. Buescher chronicles Spear's work as an activist among the New England reformers and Transcendentalists such as Bronson Alcott, Lydia Maria Child, and Dorothea Dix.

In midlife Spear turned to the new revelation of spiritualism and came under the thrall of what he believed were spirit messages. Spear's spirits dictated that he and a small group of associates embark on plans for a perpetual motion machine, an electric ship propelled by psychic batteries, a vehicle that would levitate in the air, and a sewing machine that would work with no hands. As Buescher documents, Spear's spirit-guided efforts to harness technology to human liberation—sexual and otherwise—were far stranger than anyone outside his closest associates imagined, and were aimed at the eventual manufacturing of human beings and the improvement of the race. Buescher also examines the way in which Spear's story was minimized by his embarrassed fellow radicals. In the last years of his life, retired by the spirits and regarded by fellow Gilded Age progressives as a visitor from another age, if not another planet, Spear helped organize support for anarchist, socialist, peace, and labor causes. Spear's life, an odd mixture of comic absurdity and serious foreshadowing of the future, provides us with a unique perspective on nineteenth-century American religious and social life.

Spiritualism and Electromagnetism

The classical theory of electromagnetism, which formed the basis of wireless communication technology, was developed in the latter half of the 19th century, coinciding quite closely with the rise of spiritualism, i.e., the belief in the possibility of communicating with departed souls. Interestingly, there seems to have been some connection between these two fields of thought. Although aspects of what later came to be called spiritualism can be found throughout the 19th century (and indeed throughout history), the modern spiritualist movement is usually considered to have begun in 1848, when the young Fox sisters of upstate New York began to hold séances, during which they mediated messages from deceased persons. The idea spread rapidly, and by 1854 there were thousands of “mediums” throughout the United States and Europe – especially England – all claiming the ability to communicate with the dead. How seriously these claims were taken by the average person is debatable, but it’s remarkable that many well-educated and intelligent people became genuinely convinced by the basic tenet of spiritualism, which is that individual human souls survive death and continue in some mode of existence capable of interacting with the living. One notion was that the souls of the departed are imprinted in an “ethereal medium” that surrounds and permeates all ordinary matter.

The success of Isaac Newton’s inverse-square law of gravitation formulated in 1687 led to a concept of physical forces as some kind of direct “action at a distance”, and this conception was carried over to the study of magnetic and electric forces by scientists such as Ampere and Coulomb. However, beginning in the early 1850’s, James Clerk Maxwell began to conceive of electric and magnetic effects in a completely different way. Building on the earlier suggestions of Faraday, Maxwell conceived of an all-embracing ether as the mechanism and embodiment for the forces of electromagnetism. Moreover, he showed that this ethereal medium was capable of conveying energy in the form of electromagnetic waves propagating at the speed of light. Indeed he surmised that light itself is an electromagnetic wave. Maxwell’s final synthesis was published in 1873, and in the 1880s the reality of electromagnetic waves was shown by Hertz, who succeeded in producing and detecting them directly by means of oscillating electrical circuits.

Read more here

Mediumship & Folk Models of Mind and Matter

The following is excerpted from Talking with the Spirits: Ethnographies from between the Worlds, edited by Jack Hunter and David Luke, published by Daily Grail Publishing.

Introduction

This chapter explores the role of experiences with trance and physical mediumship in the development of folk models of mind and matter, at a non-denominational spiritualist home-circle called the Bristol Spirit Lodge. Mediums and sitters often claim that mediumship has led them to understand the world differently, and to appreciate that the standard materialistic view of science is inadequate as an all encompassing model of reality. Certain key themes and concepts have emerged from my informants’ experiences with mediumship that hint at alternative models of understanding the relationship between mind and matter, including the idea that bodies are permeable, that matter is essentially non-physical, that consciousness is far more expansive than our normal waking state would lead us to believe, and that persons are multiple, can survive death, and may be influenced by external spiritual entities.

 To begin, we will briefly examine the anthropological debate over spirit possession,  taking a quick tour through the various theoretical models developed to account for the existence of this human phenomenon. This will be followed by an introduction to the history of Spiritualism, and in particular to physical mediumship, in order to give an idea of the kind of spirit mediumship that forms the basis for discussion in this chapter. The chapter will conclude with an analysis of extracts from ethnographic interviews with members of the Bristol Spirit Lodge.

Read more here

Psychic Science, by Sir Oliver Lodge (1922)

In the long evolution of humanity, we trace, first, the gradual emergence of the organic from the inorganic, the utilisation of highly complex chemical compounds for the formation and purposes of life, and then the gradual rise of living things in the scale of existence, until at a certain stage the rudiments of mind and consciousness begin to make their appearance. At some unknown time after this, must have arisen the power of choice and knowledge of good and evil, which may be regarded as the most definitely human characteristic. Then humanity, too, went on rising in the scale, until it blossomed and bore fruit in the creations of Art, the discoveries of Science, and in works of genius.

Nor is development likely to stop there. Hitherto we have known life and mind as utilising the properties of matter, but some of us are beginning to suspect that these psychical entities are able to utilise the properties of the Ether too - that intangible and elusive medium which fills all space; and if that turn out to be so, we know that this vehicle or medium is much more perfect, less obstructive, and more likely to be permanent, than any form of ordinary matter can be. For in such a medium as ether, there is no wearing out, no decay, no waste or dissipation of energy, such as are inevitable when work is done by ponderable and molecularly constituted matter - that matter about which chemists and natural philosophers have ascertained so many and such fascinating qualities. Physicists, chemists, and biologists have arrived at a point in the analysis of matter that opens up a vista of apparently illimitable scope. Our existing scientific knowledge places no ban on supernormal phenomena; rather it suggests the probability of discoveries in quite novel directions. Any possible utilisation of the ether, however, by discarnate intelligences must be left as a problem for the future. What appears to be certain is that life and mind require for their manifestation and terrestrial development some form of "material" in the broadest sense, and that there is certainly an interaction between mind and earthly matter.

Read more here

Book: Haunted Media: Electronic Presence from Telegraphy to Television, by Jeffrey Sconce

In Haunted Media Jeffrey Sconce examines American culture's persistent association of new electronic media - from the invention of the telegraph to the introduction of television and computers - with paranormal or spiritual phenomena. By offering a historical analysis of the relation between communication technologies, discourses of modernity, and metaphysical preoccupations, Sconce demonstrates how accounts of "electronic presence" have gradually changed over the decades from a fascination with the boundaries of space and time to a more generalised anxiety over the seeming sovereignty of technology. Sconce focuses on five important cultural moments in the history of telecommunication from the mid-nineteenth century to the present: the advent of telegraphy; the arrival of wireless communication; radio's transformation into network broadcasting; the introduction of television; and contemporary debates over computers, cyberspace, and virtual reality. In the process of examining the trajectory of these technological innovations, he discusses topics such as the rise of spiritualism as a utopian response to the electronic powers presented by telegraphy and how radio, in the twentieth century, came to be regarded as a way of connecting to a more atomised vision of the afterlife. Sconce also considers how an early preoccupation with extraterrestrial radio communications transformed during the network era into more unsettling fantasies of mediated annihilation, culminating with Orson Welles' legendary broadcast of War of the Worlds. Likewise, in his exploration of the early years of television, Sconce describes how programs such as The Twilight Zone and The Outer Limits continued to feed the fantastical and increasingly paranoid public imagination of electronic media. Finally, Sconce discusses the rise of postmodern media criticism as yet another occult fiction of electronic presence, a mythology that continues to dominate contemporary debates over television, cyberspace, virtual reality, and the Internet. As an engaging cultural history of telecommunications, Haunted Media will interest a wide range of readers including students and scholars of media, history, American studies, cultural studies, and literary and social theory.

The New Motor: Building the ‘God Machine’

In October of 1853 in the town of Lynn, Massachusetts, a group of people congregated under the watchful eye of a man named John Murray Spear, gathered together to begin work on a mysterious machine, an experiment that has since become synonymous with the early spiritualist movement. If successful, they believed that the machine in question had the power to “revolutionize the world and raise mankind to an exalted level of spiritual development.” It was thought that once finished, the machine itself would act as a physical body for God, a metal and copper suit to contain the divine spark. They called it the New Motor; Heaven’s last, best gift to man.

A former minister of the Universalist church in Barnstable Massachusetts, John Murray Spear was well-known for having maintained very outspoken views regarding the issues of slavery and women’s rights. In Portland, Maine during an anti-slavery speech in the heart of the city, he was beaten senseless by an angry mob, a beating which left him incapacitated for many months. However, this didn’t stop Spear from continuing to minister to three separate churches until the year 1852, when he broke ties with the Universalist Church for good. It was around this time that Spear joined an ever growing community that had begun calling themselves “spiritualists“. In later generations, despite his activism, this would become the topic his name was most notably attached to. Spear spent years devoted to developing his abilities as a trance medium, and eventually, he came to believe he was being guided by the spirits of notable scientists Emanuel Swedenborg and Benjamin Franklin.

Read more here

Looking Through the Occult: Instrumentation, Esotericism, and Epistemology in the 19th Century

In recent years the history of science has cast new light on how technical instrumentation in the nineteenth-century shaped conceptions of scientific objectivity as non-subjective and independent of human intervention. A parallel body of research in media studies has demonstrated how the contemporaneous rise of technical media (e.g. telegraphy, photography) informed spiritualistic beliefs that automated, technical inscriptions would provide faithful representation of a transcendental or spiritualistic world. Looking Through the Occult brings together scholars in media studies, the history of technology, science studies, and religious studies to consider how these phenomena may interrelate. We will ask questions such as:

• How did occult and spiritualistic beliefs in automatic writing relate to the scientific belief in “self-recording” instruments as a path towards an objectivity unperturbed by human intervention?
• How might nineteenth century intersections between scientific and esoteric styles of reasoning inform the way we understand present-day technological and social innovations, in particular those that may run counter to traditional forms of scientific and hegemonic reason?
• What shared forms of visual, graphical, and instrumental notation interpenetrate scientific , technological, and occult knowledge?
• Do present-day efforts to transcend space, time, and social difference via social and mobile media recapitulate earlier spiritualistic and technological aspirations?

Conference findings, which will be disseminated as podcasts and in an edited book, will contribute towards a broader synthesis of media and religious studies with research in the histories of technology, science, and cultural techniques (Kulturtechniken).

More here

Luke Jordan - Spirit Trumpet (2014)

More here

Book: Immaterial Bodies: Affect, Embodiment, Mediation, by Lisa Blackman

In this unique contribution, Blackman focuses upon the affective capacities of bodies, human and non-human as well as addressing the challenges of the affective turn within the social sciences. Fresh and convincing, this book uncovers the paradoxes and tensions in work in affect studies by focusing on practices and experiences, including voice hearing, suggestion, hypnosis, telepathy, the placebo effect, rhythm and related phenomena. Questioning the traditional idea of mind over matter, as well as discussing the danger of setting up a false distinction between the two, this book makes for an invaluable addition within cultural theory and the recent turn to affect.

In a powerful and engaging matter, Blackman discusses the immaterial body across the neurosciences, physiology, media and cultural studies, body studies, artwork, performance, psychology and psychoanalysis. Interdisciplinary in its core, this book is a must for everyone seeking a dynamic and thought provoking analysis of culture and communication today.

Mike Kelley & David Askevold - The Poltergeist (1978)

The Ectoplasm series is linked to a project made in association with artist David Askevold in 1978, titled “The Poltergeist.”  David and I shared an interest in the aesthetics of the occult which led us to make a series of photographic works that addressed that history.  We did not work collaboratively, though we had numerous discussions about the project as it was developed.  Each artist’s works were produced independently, but with the intention that they should be seen simultaneously to inflect the reading of the other.  My portion of the project includes faux spiritualist photographs of a “medium” (myself) exuding the mysterious ethereal substance ectoplasm.  The photos mimic the look of period spiritualist photography from the early part of the 20^th century; they are grouped with texts and drawings (also presented photographically) that relate to this theme.  David assisted me in the photo shoot and one of the photos (of a sock monkey wrapped in gauze) ended up being used in his half of the project.  Only four of the ectoplasm images were included in “The Poltergeist;” the photos selected for this exhibition include never-before-printed images.

From  http://mikekelley.com/

Bawdy Technologies and the Birth of Ectoplasm by L. Anne Delagdo

Absurd though it appeared, ectoplasm seemed to redefine the boundaries of the next great scientific frontier. Dr. Gustave Geley, a French physician and psychical researcher, viewed this paranormal production as evidence of an evolutionary development of human organic capacities and believed that this development heralded a revolution in scientific thought. The physical attributes of ectoplasm seemed to vary as much as those who produced it. According to psychical researcher G. C. Barnard, Geley described ectoplasm as being “very variable in appearance, being sometimes vaporous, sometimes a plastic paste, sometimes a bundle of fine threads, or a membrane with swellings or fringes, or a fine fabric-like tissue”. It was sometimes incandescent and sometimes opaque. The color of the material varied but was usually white. Geley believed that the material was “capable of both evolution and involution, and is thus a living substance” but noted that it was unlikely that it ever separated from the medium’s body...  

Read more here

quote

I begin to wonder which is I. Am I the white figure, or am I the one in the chair? ... It is my face which is being wet with the tears which these good women are shedding so plentifully,  how can it be? It is a horrible feeling, thus losing hold of one’s identity.

Madame d’Esperance, shadow land: or, light from the other side

quote

  ...we have actually touched the borderland where matter and force seem to merge into one another, the shadow realm between the Known and the Unknown which for me has always had peculiar temptations.

Sir William Crookes, nature (journal)

Book: Phantasmagoria: Spirit Visions, Metaphors, and Media into the Twenty-first Century, by Marina Warner

Phantasmagoria explores ideas of spirit and soul since the Enlightenment; it traces metaphors that have traditionally conveyed the presence of immaterial forces, and reveals how such pagan and Christian imagery about ethereal beings is embedded in a logic of the imagination, clothing spirits in the languages of air, clouds, light and shadow, glass, and ether itself. Moving from Wax to Film, the book discusses key questions of imagination and cognition, and probes the perceived distinctions between fantasy and deception; it uncovers a host of spirit forms - angels, ghosts, fairies, revenants, and zombies - that are still actively present in contemporary culture. It reveals how their transformations over time illuminate changing idea about the self. Phantasmagoria also tells the accompanying story about the means used to communicate such ideas, and relates how the new technologies of the Victorian era were applied to figuring the invisible and the impalpable, and how magic lanterns (the phantasmagoria shows themselves), radio, photography and then moving pictures spread ideas about spirit forces. As the story unfolds, the book features many eminent scientists and philosophers who applied their considerable energies to the question of other worlds and other states of mind: they staged trance seances in which mediums produced spirit phenomena, including ectoplasm. Phantasmagoria shows how this often surprising story connects with some of the important scientific discoveries of a fertile age, in psychology and physics, and continues to influence contemporary experience.

Ethereal Body: The Quest for Ectoplasm by Marina Warner

Materialization was the word used in the circles of psychical researchers to describe a phenomenon that first became common in séances in the 1870s: the summoning of spirit presences in the form of objects and of bodies, or of traces of objects and bodies—touches to the cheek or hands of the sitters, slaps or caresses or breezes as of something passing, sometimes fingerprints or other marks, the sounds of bells ringing or ethereal music, apported flowers and other gifts from the spirits, and, above all, ectoplasmic manifestations...

Read more here