The work on L'Enigme du desir: ma mere, ma mere, ma mere is going well, so well in fact, I've started work on another film. This film will be short to mid-length in duration, and is titled: The Milk of Dreams. It will premiere at the Venice Biennale in 2022. The Milk of Dreams features texts and vocals by William S. Burroughs; performances by actor and musician David Yow (The Jesus Lizard), actress Anne Louise Hassing (Lars von Trier), and myself; and music by Suzanne Ciani, Julia Kent (Antony and the Johnsons), Ulrich Krieger (Lou Reed), Susan Stenger (John Cage), and myself. I am adding new cast to both films and will announce them soon.
Robert Fripp (King Crimson, David Bowie, Brian Eno) has contributed music to L'Énigme du désir: ma mère, ma mère, ma mère. A Frippertronics composition is included in the film. Frippertronics is a tape delay system, originated in 1972, a precursor to the tape looping equipment of today. There may also be a second piece of music in L'Énigme du désir: ma mère, ma mère, ma mère which Robert contributed to, a guitar soundscape, with electric cello by Joan Jeanrenaud (Kronos Quartet), with production by yours truly. However, I am still working to see if I can attain the requisite level of synthesis between the sound and the images for this particular section of the film.
Introducing a selection of cast members from L'Énigme du désir: ma mère, ma mère, ma mère. From top to bottom: Stefania Casini (Andy Warhol), Philippe Nahon (Gaspar Noe), Kate Moran (Peter Greenaway), Elisa Lasowski (David Cronenberg), and a vocal recording by Klaus Kinski (Werner Herzog). I'll be introducing more of the cast from the film soon.
I am happy to announce that my feature film L'Énigme du désir: ma mère, ma mère, ma mère, is not too far from being completed. I wasn't sure I would be able to bring on the various parts together into a functioning whole, and thought I would instead have to divide what I had into several short films. Recently, the project has come together. In part due to it being the right time for it to do so, in part due to being in a healthier frame of mind, and of course, ultimately, God's grace. I have recently been using a "smart drug," a naturally occuring brain nutrient, which improves cognition. The active ingredient is Citicoline a substance which is found in every cell of the body. The benefits are increased brain performance, especially around clarity and focus. I have also noticed an increased feeling of wellbeing and positivity, and more confidence in social situations. I am also using 5-HTP, a precursor to serotonin (which I use in winter to counteract seasonal affective disorder and depression); as well as multivitamins and probiotics, and am abstaining from any alcohol or other drugs, as after any use, even a small amount, I can't do my work to the same level as I can with sobriety as the prevailing state of mind. I am currently in Auckland, and it looks like I will be here a couple more weeks. I may shoot some more material for the film, though I already have a great deal of material which has been accrued over the past decade. The film was started in 2011, with one shoot in Denmark, then dozens of other shoots around the world over the ensuing years. I did not realize at the start that I would be creating, more than with any other work I have made, a kind of puzzle for myself to solve, which is in one sense, what this work has been and continues to be.
I finished mixing a new sound art work today. Its contituent elements are a text by T.S. Eliot, a recitation by Marlon Brando, a prepared piano composition by John Cage, a prepared piano performance by Steffen Schleiermacher, and singing and field recording sound design by Francis Ford Coppola. You can listen to the work here: https://soundcloud.com/paul-amlehn/the-hollow-men The composition is dedicated to my father, Mike, who passed away in 2015.
I am presenting some of my previous music and also premiering some new music at the Chigiana International Festival, in Siena, Italy, in collaboration with RadioArte. The festival is promoted by the Italian Ministry of Foreign Affairs and International Cooperation through its network of the Italian Cultural Institutes. Here is a link to an article on last year's edition of the Chigiana International Festival. https://www.classicalmusicdaily.com/2020/07/siena.htm I sent seven works to the curator last night. Two of the works premiered at last year's Venice Biennale, and one recently premiered on the Quiet Storm radio show. The other four works are all world premieres. "Melpomene," by myself and Julia Kent (Antony and the Johnsons). "Mr. Bradley Mr. Martin Hear Us Through the Hole in Thin Air," by myself, William S. Burroughs, Ariel Lorca, Achim Kaufmann, Eberhard Kranemann (Kraftwerk), and Susan Stenger (John Cage). "Mother," by myself, Reinier Van Houdt (Robert Ashley), Susan Stenger (John Cage), Julie Dupraz, Robin Storey (Zoviet France), Pierrick Drochmans, Laura Schuler, and Isambard Khroustaliov. and, "The Heart Flutters on a Thread and Loves the Errors of Its Killer," by myself, Mick Rossi (Philip Glass Ensemble), and Jeff Zeigler (Kronos Quartet). A special thanks to Federico for the invitation.
I will be exhibiting some of my work in the Collateral Events of the 59th Venice Biennale. The title for this edition, The Milk of Dreams, is taken from the title of a book by surrealist Leonora Carrington. That title and theme fits very well much of the work I have been doing, recently, and over the past three decades. If I can procure the funding I will go to Venice and perform there. If I can't, I'll send some work over that can be exhibited. Right now, I am thinking of exhibiting some of the visual art and literature I have been creating with Artificial Intelligence neural networks. This will be the fifth time I have exhibited at the Venice Biennale, having previously shown work at the 51st, 55th, 57th, and 58th editions. Thanks to the mainly Italian (and one Russian) curators who selected my work for those exhibtions. The Italians have been the most ardent supporters of my work, followed by the French, and the Americans. New Zealand, unfortunately, lags behind dead last in that regard, but, c'est la vie. I'm grateful to show the work and be able to share it wherever and whenever I can, if it's in a good context. (I should say that there have been a handful of supporters of my work here in New Zealand, but, they are very much in the minority). I'll post more information on precisely what I am exhibiting in Venice closer to the time.
This evening, the first work from an exhibition of twelve visual art works, co-created by myself and an Artificial Intelligence neural network, was transmitted into outer space. The title of this off-world exhibition is: "Future Memories." The transmission is being sent via a 15-inch parabolic dish antenna, located in Brazil, at a frequency of 2.5-5 Ghz. The images beamed into space will travel 186,000 miles after the first second of being transmitted. Within two seconds this message will have passed the orbit of the Moon. In just over three minutes it will pass beyond the orbit of Mars. And in 1.87 years the message will speed past the outer edge of the Oort Cloud and into interstellar space. At this point, it will have travelled 45% of the way to Proxima Centari, the nearest star to our sun. The twelve images selected for the "Future Memories" exhibition transmission will be published here on the blog as they are sent into outer space over the next 24 hours.