Friday, September 09, 2016

SHIRLEY COLLINS' LODESTAR

Photo credit: Eva Vermandel


“Shirley is a time traveller, a conduit for essential human aches, 
one of the greatest artists who ever lived, and yet utterly humble” 
- Stewart Lee




It is a great pleasure to be amongst the first journalists to be given the announcement that a new record by Shirley Collins is to be released on Domino Records on November 4th - her first album for 38 years. It was recorded in Shirley's cottage and I live just a few doors down but was completely unaware it was happening.



I first met Shirley in January 1969 when I was 18, long-haired and running, with other friends and freaks, the Worthing Workshop, what used to be called an Arts Lab. We did gigs, concerts, poetry readings, protests and sold underground newspapers in the street and smoked dope in the parks. For one reason or another we decided also to start a folk club (a venture that didn't last as it turned out) in one of the local pubs near the station. Somehow we got to book Shirley Collins. Not sure at all how that happened.

Anyway on the night, I was running the show and also playing. I remember the timing because it was some time  after 'Wee Tam and the Big Huge', the amazing double album by the Incredible String Band which had been released a couple of months before and I had learnt one of the most complicated songs on the album 'Ducks On A Pond' as a kind of party piece I played that night

I had the privilege of going to meet Shirley at the station and guide her to the venue. I was completely gobsmacked as Shirley was (and is) beautiful and magical. I wish I could say I remember more of the evening. Obviously Shirley sang and I may have led her back to the station but my strongest memory
is that first sight on the station platform. I was young.

Many years later, I met up with Shirley in Lewes in 2004 around the occasion of the release of her wonderful book 'America: Over The Water' about her trip to the Southern states when she was 19, as assistant the folk song hunter Alan Lomax. As id discovered, she'd been living down the road from me for some time and I hadn't even noticed. Full details and links in a Previous Post (3rd July 2005)

SHIRLEY COLLINS; OVER THE WATER & OVER THE ROAD 


The press release, which calls 'Lodestar', with some justice, 'the unlikeliest release of the century so far' provides an informative summary of the album itself and Shirley's life and times to date.
'Lodestar' is a collection of English, American and Cajun songs dating from the 16th Century to the1950s, recorded at Shirley’s home in Lewes by Stephen Thrower and Ossian Brown of Cyclobe and produced and musically directed by Ian Kearey.
The first track to be shared from Lodestar is ‘Cruel Lincoln’. Shirley explains the history of the song: “This is an ancient ballad, found only rarely in England. The theory is that Cruel Lincoln was a masonwho was not paid for the work he did for ‘the Lord of the Manor’ and so extracted a terrible revenge”.It also features bird song recorded at the back of Shirley’s cottage.

Born in Hastings in 1935, Shirley was fascinated by folk songs as she was growing up, songs she heard on the radio or sung by her grandparents in Anderson shelters. She left home for London to immerse herself in the burgeoning folk scene; at a party held by Ewan MacColl she met Alan Lomax, and in 1959 she joined him in the USA on the renowned field trip ‘Southern Journey’, recording American folk songs and blues, a formative journey for her personally and professionally. 
On her return to England, Shirley cemented her role at the forefront of the Folk Revival, recording over a dozen albums including the influential Folk Roots, New Routes with avant-garde guitarist Davy Graham, and No Roses, from which The Albion Country Band was formed. 
However, in the 1980s, Shirley lost her singing voice – later diagnosed as a form of dysphonia - and withdrew from performing live. It was only in 2014, after coaxing from David Tibet (Current 93), that Shirley sang in public for the first time since 1982. 
Though Shirley Collins (MBE) has been absent from the music scene for many years, her impact has not diminished, the likes of Graham Coxon, Jonny Greenwood, Stewart Lee and Angel Olsen laud her and a documentary The Ballad of Shirley Collins is currently in progress. Additionally, she was given the ‘Good Tradition’ award at the BBC Radio 2 Folk Awards in 2008, elected President of the English Folk Dance & Song Society in the same year and was awarded an Honorary Doctorate in Music from Sussex University this year. Shirley is currently working on her second book. 
Now Shirley Collins has sung once more (with a mischievous delight in defeating expectation), the accepted canon of her great recordings will have to be comprehensively recalibrated, yet again.

Lodestar will be available on limited edition deluxe vinyl with a 24 page 12” booklet featuring song notes by Shirley Collins and sleeve notes by Stewart Lee and a signed print (signed print is available exclusively via Dom Mart), limited edition deluxe CD with 28 page booklet and standard vinyl. For more details visit Dom Mart.

I have had the privilege of reading Stewart Lee's extensive sleeve notes. He is enchanted and besotted by Shirley and writes lyrically and perceptively explaining the depths and magic that he perceives in her and her singing.  Here's a taste:
'I first met Shirley in 2003, in the Hove flat where she lived alone, just as the reissue efforts of fans like David Tibet, the shape-shifting polymath of the English experimental underground, and Fledg’ling Records’ folk archivist David Suff, began to nudge knowledge of her work beyond the realm of record-collector adepts. Blissfully disconnected from the on-line information ocean, Shirley herself had been utterly unaware of how interest in her had been growing since she had finally forsworn singing in 1982.  
“All I did was perform the songs in a straightforward way,” she explained. “It’s the only way I can sing them, because when people start dramatising or enacting a song, I just become embarrassed. I think the best way is to draw people in, not to stand there and declaim it.”
To me, her egoless recordings resist stylistic flourishes, remove the obstacle of the performer’s personality, and directly channel the listener to the words and music, reconnecting traditional tunes with the strange worlds they emerged from. I put it to her that she didn’t inhabit a song so much as surrender to it. ' 

Photo credit: Eva Vermandel

Wednesday, September 07, 2016

OZ TRIAL ORIGINALS: LEST WE FORGET









[Original sticker and handouts from The Generalist Archive]

All Issues of OZ are now available on-line here



The (UK daily paper) prints obit of Richard Neville with picture of Felix Dennis. Duh!
[Thanks to Phil W for tipping me off]

THE NEW COUNTER-CULTURE IS IN THE AIR

Two landmark shows, one in its last month at the Pompidou Centre in Paris, the other due to open shortly at the V&A in London. Younger generations are tuning into a counter-cultural frame of mind as we watch the ancien regimes struggle to control a world full of dramatic change. In retrospect, the late 50s to early 70s were the Western World's Arab Spring, the last time that the youth asserted themselves, changed their consciousness and invented many of the new ways of thinking and living that were transformational at the time and beyond. Seems to THE GENERALIST that the seeds of a new counter-culture are in the air or already sprouting. Are you ready for it?

CENTRE POMPIDOU

'Foreshadowing the youth culture and the cultural and sexual liberation of the 1960s, the emergence of the Beat Generation in the years following the Second World War, just as the Cold War was setting in, scandalised a puritan and Mc Carthyite America. Then seen as subversive rebels, the Beats appear today as the representatives of one of the most important cultural movements of the 20th century - a movement the Centre Pompidou's survey will examine in all its breadth and geographical amplitude, from New York to Los Angeles, from Paris to Tangier.

'The Centre Pompidou's exhibition maps both the shifting geographical focus of the movement and its ever-shifting contours. For the artistic practices of the Beat Generation - readings, performances, concerts and films - testify to a breaking down of artistic boundaries and a desire for interdisciplinary collaboration that puts the singularity of the artist into question.

'Alongside notable visual artists, mostly representative of the California scene (Wallace Berman, Bruce Conner, George Herms, Jay DeFeo, Jess...), an important place is given to the literary dimension of the movement, to spoken poetry in its relationship to jazz, and more particularly to the Black American poetry (LeRoi Jones, Bob Kaufman...) that remains largely unknown in Europe, like the magazines in which it circulated (Beatitude, Umbra...). Photography was also an important medium, represented here by the productions of Allen Ginsberg and William Burroughs - mostly portraits - and a substantial body of photographs by Robert Frank (Les Américains, From the Bus...), Fred McDarrah, and John Cohen, all taken during the shooting of Pull my Daisy, as well
as work by Harold Chapman, who chronicled the life of the Beat Hotel in Paris between 1958 and 1963. The same was true of the films (Christopher MacLaine, Bruce Baillie, Stan Brakhage, Ron Rice...) that would both reflect and document the history and development of the movement.'
Source: Boutique Centre Pompidou


Reviews of the show:
'In Freedom's Playground' by James Campbell/The Guardian 9th July

'Paris has acquired the habit of mounting major exhibitions on literary subjects... but why the Beats and why now? "The idea is to show these freedoms, which were fought for then, and which are in danger of disappearing", say Philippe-Alain Michaud, who has curated the show...We wanted to show the multimedia nature of the movement - not just writing but painting and film as well - and how the idea of travel was central to it.'

'There is another good reason  for bringing the Beats to Paris.More than Tangier, which often gets the credit, the French capital was where Beat production reached its high point between 1957 an 1960. With the turn of the decade, what had been an underground movement rose the surface and was exposed to damaging commercial light.'

'At the Centre Pompidou' by Jeremy Harding/London Review of Books 8th Sept

[The] 'trophy exhibit is Kerouac's highway-scroll manuscript of On the Road, composed in 1951: at more than thirty metres, ut runs most of the length of the second room, inviting visitors on a pilgrim's route to the true north of the Beat kingdom.'

This major exhibition will explore the era-defining significance and impact of the late 1960s, expressed through some of the greatest music and performances of the 20th century alongside fashion, film, design and political activism.


A'Voices from the Underground' feature in The Times Review/Sept 24th 1988
 - the 20th anniversary of the events of 1968. This was always one of my
favourite pictures of that time, which originally I believe appeared on the cover of a 1967 issue of the  Observer Magazine that featured  inside an interview with Paul McCartney, illustrated by Alan Aldridge. It was the posters that really turned me on.
[The Generalist Archive]



YOU SAY YOU WANT A REVOLUTION? : RECORDS AND REBELS 1966-1970 opens at the V&A this coming Saturday.

 How have the finished and unfinished revolutions of the late 1960s changed the way we live today and think about the future?

 This major exhibition will explore the era-defining significance and impact of the late 1960s, expressed through some of the greatest music and performances of the 20th century alongside fashion, film, design and political activism.


Being The Times it had to get an illustrator to amend the speech bubble of the 1963 Roy Lichtenstein painting 'Hopeless'. The original read as follows: 'THAT'S THE WAY IT SHOULD HAVE BEGUN! BUT IT'S HOPELESS!



Monday, September 05, 2016

RICHARD NEVILLE

News comes this morning that we have lost one of the most vibrant and charismatic figures of the 1960s underground - Richard Neville - who was an inspiration. This brilliant cover of his first major book 'Play Power' was  executed by the marvellous Martin Sharp.                                           

 [Left] Richard with girlfriend Louise Ferrier, London, 1970
            




You can read a 4-post reprint of my 1980 NME Dick Tracy interview with Richard Neville about his book 'Bad Blood' which tells the story of Charles Sobhraj, the hippy trail serial killer. Click here and scroll down: http://hqinfo.blogspot.co.uk/2011_02_01_archive.html




CHARLES SHAAR MURRAY'S TRIBUTE



Richard Neville changed my life.
I mean that in the most specific and literal sense: if it hadn't been for Richard first co-founding OZ and then throwing the magazine open to smart discontented teens for what became the 'Schoolkids Issue' in 1970, I would not have had what I laughingly refer to as the 'career' which has rendered me old, broke, crazy and mildly notorious. Without Richard (and Jim Anderson, and the equally late Felix Dennis, the other two points of the classic OZ editorial triangle), I'd've had to settle for librarianship or the duller bits of the Civil Service. And I'd probably never have left Reading.
Richard wasn't a great writer, and he knew less about everything (art and politics as well as sex, drugs and rock & roll) than he would have liked us to think, but he MADE STUFF HAPPEN. Not only that, but he used his devastating charm and energy to attract people who could get the work done. Jim had him beat on the literary end, and Felix on the Biz, but Richard was both front man and facilitator.
In many ways, his greatest talent was his ability to enthuse, inspire and unite seemingly disparate people. 'Charisma' doesn't even begin to cover it. (Thank the power that drives the universe that he never went into bourgeois politics.) Around Richard, everybody became more ... themselves.
He saw something in me which nobody else ever had, and he nurtured and encouraged me to get the bad writing (the embarrassing teenage waffle) out of my system so I could get to the good stuff. Without the encouragement, mentoring, coaching and opportunities I got from Richard (and Jim, and Felix) I'd never have developed the confidence to believe that I could ever have turned pro as a writer. They sussed that I had a talent, and that what I needed was craft and discipline.
Without Richard, I'd be nothing and no-one. (I still remember handing in some copy, in the margin of which he scrawled 'Bold' and 'Unjustified.' I thought that was a little harsh -- I was, after all, a beginner -- but he later explained to me that those were simply instructions to the typesetter.)
(Young folks -- ask your grandma what a 'typesetter' was.)
The last time I saw Richard (and no, that's not an OVERT Joni Mitchell reference) was at a book launch (no idea whose) sometime in the 1980s when he was flirting outrageously with Paula Yates. Or was it the other way around?
He was also the first Bowie fan I ever met, and he took me to see DB at The Roundhouse in 1970.
When a bunch of us were gathered together a year or two back to mark the passing of Felix Dennis, Jim was there, but Richard wasn't. He was, apparently, too unwell to travel from Down Under. I was massively disappointed, because I wanted to thank him for the life I've had.
Influence? Well, not an influence in the same way that Bob Dylan, Raymond Chandler, John Lee Hooker, HST, Norman Mailer, Pauline Kael or Jimi Hendrix were, but ...
The main reason that I am who I am (whoever THAT is) and did what I did (whatever THAT was) ... is because Richard Neville gave me a chance.
RIP. If (a) heaven exists, (b) we both get there and (c) they have weed and Rizlas, I'll roll you one.
Final thoughtage: if I can now successfully masquerade as a Grand Old Man Of The Counter-Culture, it's because so many of the Real Guys are gone now. No more Felix Dennis, no more Mick Farren, no more Lemmy, no more Bowie ... If you're fortunate enough to run into Barry Miles, John Sinclair, Jeff DexterDick PountainEd Ward, Wayne Kramer, Su Small or John May, supply them with stimulants and get them to Tell You Stuff.
Get the most out of all of us while we're still here.
Will the last person out of the Enlightenment please turn the light back on?



Friday, September 02, 2016

COMPUTER ART / CYBERNETIC SERENDIPITY

CONNECTED 15129
This is a reprint of a story from 'Connected' The Daily Telegraph's then monthly digital supplement (see Previous Post), originally published on April 30th 1998. An update of an earlier post [9th April 2012]

          It was 30 years ago today, computers learnt to play

Thirty years ago, a ground-breaking show about comput­ers and the arts was staged at the Institute of Contemporary Arts (ICA) in London.
Entitled "Cybernetic Serendipity" and orga­nised by Jasia Reichardt, it encom­passed a broad range of work in the fields of pure and applied graphics, electronic music, robotics, choreog­raphy and others.
The exhibition was described as demonstrating "how man can use the computer and new technology to extend his creativity and inventive­ness". In the catalogue Reichardt wrote: "The aim is to present an area of activity which manifests artists' involvement with science, and scien­tists' involvement with the arts; also to show the links between the ran­dom systems employed by artists, composers and poets, and those involved with the making and use of cybernetic devices.''
To this end the exhibition was divided in three main sections: Com­puter-generated graphics, computer-animated films, music composed and played on computers, and computer poems and texts; Cybernetic devices as works of art, cybernetic environ­ments, remote-control robots and painting machines; Machines dem­onstrating the use of computers and an environment dealing with the his­tory of cybernetics.
"Cybernetic Serendipity," wrote Reichardt, "is prematurely optimis­tic. There are no heroic claims to be made because computers have so far neither revolutionised music, nor art, nor poetry, in the same way that they have revolutionised science."
Thirty years later, how far have we come in realising these visions? Is it possible now to make "heroic claims" for a revolution in the arts through computer and communica­tion technologies? Have science and art become more integrated as a result of digital technologies?
CONNECTED 16130
Let's begin on firm ground. We live in a world of computer-generated graphics. The black-and-white pen plotter images and early wire-frame and ray-tracing experiments dis­played at the ICA look primeval today, like paintings from the Las-caux caves of Aquitaine. Movies, television, advertising, games, graphics and art itself are saturated with images either generated or ma­nipulated by computers.
A similar revolution has occurred in the sciences. "Scientific visualisa­tion" using computers has enabled us to model molecular structures, the inside of a thunderstorm, the birth of stars and the destruction of the ozone layer — producing images and ani­mations of great beauty. This inte­gration of science and art, imagina­tion and technology is the most explosive development since the invention of photography and will be just as destabilising.
Photography radicalised painting, relieved it from the burden of just depicting reality and allowed abstraction, cubism, surrealism and other developments to follow. Now photography is being radicalised by digital technology. In the move from film to disk, from chemical to silicon, photography is freed to explore a big­ger canvas. The synergy between photography and computers via scanners and Photoshop has already produced a flood of powerful new images and techniques that stretch and manipulate reality.
What about music? Music compos­ed and played on computers was in its infancy in the SixtiesThe first Moogs were finding their way into the hands of rock musicians and clas­sical composers. Now computers and other digital technologies rule music. The pre-Millennium soundtrack is dominated by electronic tones and beats; by digitally enhanced remixes of earlier grooves.
Computer poetry and prose may not have taken off, but the effect of computers on writing of all kinds has been seminal. Not only have millions changed their working practices, moving to word processing as a com­position tool, but developments in multimedia have also highlighted the increasing interest in hypertext and other non-linear narratives. The In­ternet has spurred the development of interactive fiction, with writers all over the world contributing electron­ically to the narrative drive.
Computing has also contributed a heap of new language which is being woven into the fabric of our general language. Email on the Internet is the biggest boom in note and letter writing since the birth of the postal service and the invention of the post­card in the 19th century.
Cinema and TV are facing similar radical change. Rare is the movie that has not been tweaked by com­puters. Digital editing is becoming industry standard, digital cameras will become increasingly common. The whole process — from concep­tion to realisation, from distribution to exhibition — will soon be a contin­uous digital stream. On the content side, we are returning to the grand cinema of spectacle and illusion; moving forward to television that is multi-channel and interactive.
We have moved from cybernetic serendipity to computer creativity and connectedness — for let us not forget that all of the above move­ments and tendencies are reflected and enshrined on the Internet, itself a whole new medium of expression, the bastard offspring of the nuclear bomb, the silicon explosion and the global telephone network.
So, 30 years on, heroic claims are indeed in order. Digital technologies are catalysing, empowering and transforming the business, practice and content of art. Their impact will intensify in the next few years. But one thing has not changed: the atti­tude of the art and educational establishments. Digital art may have taken over in the real world but intellectually and critically it remains to be recognised. (Indeed, they are still arguing over whether photography is art.)
This is not an argument for abandoning the pencil and easel, the chisel and book, nor for abandoning centuries of craft skills and art prac­tices that continue to thrive.
It is rather an argument for expanding our perspective, for understanding how the lives of cre­ative people are being affected by the immersive nature and pervasive spread of digital and technologies, for redefining the role of the artist in a digital world.'

FROM THE GENERALIST ARCHIVE


 
The original programme for ‘Cybernetic Serendipity’, published in 1968 as a special edition of the magazine Studio International. Price was 25 shillings. Cover design by Franciszka Themerson (in two bits because too big for my scanner)
COMPUTER ART1131
This multi-authored study, ‘Cybernetics, Art and Ideas’ was published in hardback by Studio Vista in 1971. The cover illustration is based on Return to Square B. Computer Technique Group, Tokyo.


According to Wikipedia, Jasia Reichardt (1933- )edited Art News and Review, the weekly paper devoted to the fine arts in the 1950s. She was assistant director at the Institute of Contemporary Arts, London (ICA) 1963-1971, where she organized the exhibit Cybernetic Serendipity and wrote the book of the same name. She served as director of the Whitechapel Art Gallery 1974-1976.

UPDATE 















'Homage a Paul Klee' by Frieder Nake. Germany 1965.
This neat little book waa given to The Generalist by The V&A's archivist for digital art Dougas Dodds, who visited the Archive. It has a whole section of early digital stuff but not early enough. This book is focused on the pioneering work and has grace and beauty. A disc in the back means you can play with some of the patterns.



These two beauties which open the book are actually produced using analog cathode ray oscilioscope, created in the USA in 1952.

'The artist Ben Laposky manipulated the electronic wave forms and then photographed the results. Laposky created some of he first graphics generated using an electronic machine and helped to pave the way for the truly digital pioneers who followed.'


IBM: ANATOMY OF A COMPUTER



This an oddity within the collection. Its a 1968 publication for IBM, a chunky landscape format, which brings together eight different booklets, previously issued separately I would guess.

It begins with 'Anatomy of A Computer'; the opening text reads: 

'In this, the first booklet of the series, the rapidly increasing growth of computing speeds and methods is described, and the basic concepts of modern high-speed computers are introduced. A certain amount of historical background is also included in order to sow that, as in any other technological field, the almost unbelievable achievements of our time are simply the outcome of many earlier step-by-step developments.'

The seven other titles in the series are:  (2) Input/Output. Tele-processors; (3) Storage; (4) Files; (5) Programming; (6) Basic Applications; (7) Advanced applications; (8) Its Place in the Company.

What makes it so special is the illustration, graphic design, typography and the print job. Each booklet combines a card cover front and back, next some strange  see-through textured paper, then olive green textured paper and then straight white. Some text only but mainly full of graphics all treated in different ways. It's fab gear man, a great showcase of design and illustration of the period. Exactly how all effects were produced back in the day is hard to tell. It must of cost a lot of money. Here's a few examples.








Credits for this interesting work:
Design: Gavin Healy FSIA
Photography: Enzo Ragazzini
Print: Mears Caldwell Hacker Limited



COMPUTER GRAPHICS/ A NEW PICTURE OF REALITY

 CG1113
Cover design by Richard Adams (ADCO). Image by David Zeltzer/Ohio State University.

This is a book I produced in 1984/1985 for the British publishers Secker & Warburg. The edited manuscript and all the pics were delivered ready to go. For reasons that were never quite clear, the book never saw the light of day and the manuscript and all the picture material have been in a storage box ever since.  


COMPUTER ART9139
Researching and producing such a book at that time was a more formidable task than now. No computers, no internet, no fax – only the post and the phone. The whole book was elaborately storyboarded in pencil. [Click (left) to see detail]

Those were early days to be producing such a book. Computer graphics were in their infancy compared to their ubiquitous presence today in all forms of media, science, business, defence and many other fields. 

The images I was collecting together then were primitive by today’s standards. Now they look intriguing and have a great deal of interest and charm.

I corresponded with places like the Lawrence Livermore Laboratory, the University of Utah, numerous corporations, institutes and individuals. Tronhad recently come out and I interviewed Judson Rosebush, one of the co-founders of Digital Effects, the first commercial computer graphics company in New York, who had done the titles and animated BIT for the film. Also John Halas, the veteran animator who had, at the time, recently completed his first computer-assisted animated film. The intro for the book ran like this:
               COMPUTER GRAPHICS             
is an account of a voyage of discovery to a world where the real and the unreal meet, where words run out and pictures begin, a place where the only limitation is your imagination.
COMPUTER GRAPHICS
is about a new pictorial lan­guage which we can use to simulate reality with stunning exactness or create imaginary landscapes. Visual represent­ations of mathematical formu­lations they provide a window into the world of the comp­uter.. Like Cubism and the camera, they provide the eye and,brain with a whole new way of looking at the world and will have equally radical implications.
COMPUTER GRAPHICS
will take you on a journey to the electronic battlefield, on a trip beyond the rings of Saturn, to visit the last great airport in the world, inside a virus, across the largest single-span bridge, to the Hall of Scientific Art and the Factory of the Future and beyond...into the 4th Dimension.
Popular in style, pictorial, fast-paced-this is a new kind of book on computers which. is not for the experts but for the ET/Star Wars generations, the new electronic culture. Above all for the broad, general readership who realise that a base understanding of comp­uters is essential in the modern world.
This is a book for people who are interested in the future.
CG2114[Back cover image: Los Alamos Scientific Laboratory. Caption from their booklet reads: ‘A computer graphics color system that gives an easily specified range of colors is available to users of LASL’s Central Computing Facility. The pattern was generated while experimenting with color variations on circles of varying sizes and positions.’
Not exactly a high school textbook! Here are a few images and original copy from the book which I hope you enjoy.
COMPUTER ART8138
Pictured is CASSIM (the Cardiff ship simulator at the University of Wales Institute of Science and Technology), the only computer-generated imagery simulator of its kind to be equally committed to both training and research. It contains mathematical models of eight ship types, ranging from a general cargo vessel of 18,000 tonnes displacement to a loaded VLCC (very large cruise carrier). New scenarios and backgrounds are continually being added and updated and new scenarios introduced. Helicopters, ferries and lighthouses are just some of the extraneous detail available.
COMPUTER ART5135
Source: Lawrence Livermore Laboratory
Like some strange species of jellyfish or an interstellar craft, this is a computer image showing structural details of the tomato bushy stunt virus.
What you are looking bat is a hemisphere of 90 of the 180 amino acid subunits that go to make up the protein coat. The subunits – atoms of oxygen (red), carbon (dark blue) and nitrogen (light blue) -  are in turn made up of hundreds of chemically identical amino acid chains. One such chain is shown in yellow, each of its spheres representing a single amino acid. These chains link the virus together.
To produce such an image requires a powerful computer and complex software. The program is called ATOMILL, a sophisticated development of the ATOMS program developed by Bell Laboratories. It contains a hidden-surface algorithm which compute what surfaces fo which spheres will not be visible to the observer as the image moves and the spheres overlap. These are then deleted.
These calculations were done on a CDC 7600. Colour shading and highlights were calculated n a Sperry-Univac V75 minicomputer and plotted on a Diocomed D48 colour film recorder.
COMPUTER ART4134
At the Washington University Medical Center in St Louis, a surgeon and a radiologist with experience of computer graphics combined forces to tackle the problem of converting CT brain slices into a 3-D image. They linked up with a computer graphics system at nearby McDonnell Douglas, used by the company for designing aircraft, and were able to generate a three-dimensional contour map of the skull. The McDonnell computer was linked directly to an NC milling machine that manufactured a model skull out of aluminium sheets.
COMPUTER ART6136
Source: Evans & Sutherland
A CAD visualisation of one stage of the cycle of operation of a four-stroke engine.
COMPUTER ART7137
Source: Boeing Software Support Center

A computer simulation of an air-launched Cruise missile. This scene, showing depth, colour and realistic detail was created entirely on a VAX 11/780 computer.

Originally posted 9th April 2012 

Wednesday, August 31, 2016

PROJECT CYBERSYN: STAFFORD BEER IN ALLENDE'S CHILE 1970s + BRIAN ENO

UPDATED/11th September 2016


Report from Allende's Chile by Graham Greene. Published in The Observer magazine [2nd Jan 1972]. Photos: Roman Cagnoni.[The Generalist Archive]
*
'June, 1972, Ángel Parra, Chile’s leading folksinger, wrote a song titled “Litany for a Computer and a Baby About to Be Born.” Computers are like children, he sang, and Chilean bureaucrats must not abandon them". 

'The song was prompted by a visit to Santiago from a British consultant who, with his ample beard and burly physique, reminded Parra of Santa Claus—a Santa bearing a “hidden gift, cybernetics.” 

'The consultant, Stafford Beer, had been brought in by Chile’s top planners to help guide the country down what Salvador Allende, its democratically elected Marxist leader, was calling “the Chilean road to socialism.” 

'Beer was a leading theorist of cybernetics—a discipline born of mid-century efforts to understand the role of communication in controlling social, biological, and technical systems. Chile’s government had a lot to control:  Allende, who took office in November of 1970, had swiftly nationalized the country’s key industries, and he promised “worker participation” in the planning process. Beer’s mission was to deliver a hypermodern information system that would make this possible, and so bring socialism into the computer age. The system he devised had a gleaming, sci-fi name: Project Cybersyn...
*
'At the center of Project Cybersyn (for “cybernetics synergy”) was the Operations Room, where cybernetically sound decisions about the economy were to be made. Those seated in the op room would review critical highlights—helpfully summarized with up and down arrows—from a real-time feed of factory data from around the country. The prototype op room was built in downtown Santiago, in the interior courtyard of a building occupied by the national telecom company. It was a hexagonal space, thirty-three feet in diameter, accommodating seven white fibreglass swivel chairs with orange cushions and, on the walls, futuristic screens. Tables and paper were banned. Beer was building the future, and it had to look like the future.'

These three paragraphs, are from the opening  page of Evgeny Morozov's 'The Planning Machine: Project Cybersyn and the origins of the Big Data nation.' You can read the whole article here.  ['A Critic at Large' New Yorker 13 Oct 2014]

**Since this was originally posted, my attention has been drawn to the controversy over this article in a blog post by Lee Vinsel entitled 'An Unresolved Issue: Evgeny Morozov, The New Yorker, and the Perils of "Highbrow Journalism" [October 11, 2014].  Its essence refers to Eden Medina's book 'Cybernetic Revolutionaries' [see later in this post] 

'Indeed, Morozov's essay was ostensibly a review of 'Cybernetic Revolutionaries'. Yet, Morozov only once mentioned Medina, and the mention came well into his text. To add insult to injury, citation was glancing at best: "As Eden Medina shows in 'Cybernetic Revolutionaries,' her entertaining history of Project Cybersyn, [Stafford] Beer set out to solve an acute dilemma that Allende faced." The placement of the mention as well as its wording could and did give many readers the impression that all of the ideas and the work that went into the essay were Morozov's, but they weren't.'

*
MEETING STAFFORD BEER

This is a story within the story. Back in 1975, I had made contact with Stafford Beer via letter (no trace in Archives) and received a gracious letter back in elegant handwriting. Sometime later I was on the train from Euston to Aberystwyth and arrived as the sun was going down, at the end of the line. 

I was 25 at the time and this was the first proper interview I had done solo, first time I was in charge of tape recorder. I had no idea of what to expect. I was met at the station by a large bearded man with a commanding voice and a large (blue?) Bentley - Stafford Beer, larger than life. He basically took control and I happily just followed along. We drove somewhere and parked before stepping back in time into the public bar of an old hostelry, festooned with old fishing nets and glass balls, with only a few of the locals in. We began drinking, somebody started singing and playing a guitar (I think) and as the beer went down, the Beer began joining in the singing.

We decamped to an Indian restaurant. Beer was known there. It was noisy, somebody's birthday, If I had been more experienced I would have waited or moved to a quieter spot. as it is the tapes survived and it's possible to catch 95% of a very long monologue, only interrupted by my brief questions, mouthfuls of food and calls for more sherry. The noise dies down. That's when he calls for more sherry.

In my memory, Stafford starting crying. I wasn't sure how to deal with this. Its not on the tape. I must have turned that off. I think because we had been talking about Allende.
'
Thinking back on it, I am sure Stafford was driving over the limit but this was 1975, hardly any traffic around and a fairly brief journey to a guest house by a small river. A low-lying cottage, We were in the kitchen with a really stunning woman and her grandmother. I don't know whether we drank any more but Stafford encouraged the woman to sing which she did, a most beautiful voice, ancient Welsh folk song, magical.

Next morning I felt a bit thick in the head. Had a hearty breakfast. Walked out to look at the river which was also a bit magical and, when I had cleared my head, sat down with Stafford for another session when he told me about all the other cyberneticians like Wiener, McCullough and Ashby and Pask and Maturana.

I think he then drove me to the station. When I emerged into the London sunshine I had to call my colleague Mike Marten to explain that I had this amazing interview.

Listening to the tapes now is like time-travel.
*
CORRESPONDENCE

The interview was meant to form part of the second volume of a proposed trilogy of 'An Index of Possibilities.' The first volume's theme was 'Energy & Power'. The second volume was 'Structures & Systems' which was going to include a section on cybernetics.

Stafford's work in Allende's Chile was known about in 1975. I have clippings from The Observer and 'Architectural Design' (AD), reviewing two of his new books 'Designing Freedom' and 'Platform for Change'; in the latter, he outlines the Cybersyn project in some detail. However it was not certainly not mainstream press.

In December 1977, Stewart Brand of the Whole Earth Catalogue sent a message that he was interested in reading the interview. 

I must have written to Stafford as a result and sent him a copy of our new book 'Worlds Within Worlds' - the first popular book providing an overview of scientific imagery, from the micro to the macro. By this time we had had to abandon our work on Index 2. He wrote me a letter in Feb 1978 which said of WWW: 

'Well- thanks a million for the book. I have read the whole thing. It is the most beautiful book that I have seen for a long time. And it manages to say so much about the perception of systems that can't be communicated in words.. I particularly like the intro on SCALE. I've written a lot about that; but people hang on to their own scale, and the rest is not 'for real'. Scale is a kind of virginity that must not be violated - at the risk of loss of identity...Only Buddhism seems to understand. Tat tvam asi.' [Thou art that].

I wrote two letters to him, one after he had his letter published on Sept 13th 1985 in The Times correspondence page castigating the government over its recent approach to the riots in Handsworth; another a catch-up letter in December 1985. No response came. 

*
CYBERSYN EMERGES


Stafford died in 2002, a month shy of his 76th birthday.

** [Rewrite] The following year, came the first major press coverage of Cybersyn, a 2,000 article by Andy Beckett, whose book 'Pinochet in Piccadilly' was published in 2002. In his piece in The Guardian, Beckett billed Stafford  as an 'eccentric scientist'.

Andy Beckett writes: 'In June 1973, after being advised to leave Santiago, [Beer] rented an anonymous house on the coast....For a few weeks, he wrote and stared at the sea and travelled to government meetings under cover of darkness.'

'Beer was in London, lobbying for the Chilean government, when he left his final meeting before intending to fly back to Santiago and saw a newspaper billboard that read, "Allende assassinated."
The Chilean military found the Cybersyn network intact, and... destroyed it.' [Allende, in fact, took his own life.]

 'Soon after the coup, Beer left West Byfleet, his wife, and most of his possessions to live in a cottage in Wales. "He had survivor guilt, unquestionably," says Simon [his son].

EDEN MEDINA


The year before he died, Eden Medina met him, was invited to his house in Toronto, and was able to conduct a two-day long interview. She writes:

'I was a third-year doctoral student hoping to learn more about the history of Project Cybersyn. I had stumbled on the Cybersyn story by chance several months earlier while searching for information on the history of computing in Latin America. It felt like a good story.'

 For the next ten years, Eden conducted a huge research programme which included fifty interviews in eight countries, locating people who worked on the project and consulting both personal and national archives. The result is 'Cybernetic Revolutionaries' a remarkable work which is the definitive account and seems likely to remain so. 

I was aware of Eden Medina's book but was reluctant to read it for some reason. Perhaps I thought it was my story. It was certainly a very powerful personal experience. I finally got the book (now in paperback) earlier this year, I almost immediately wrote to her and we have been in correspondence since. It has taken many months to finally attempt to assemble all these thoughts and memories as well as explaining more of the actual factual story.

For personal reasons I wanted to understand the context of the interviews I'd done in mid-1975.
We're jumping to the end of the story.

Medina writes: 'The Chile project had been a turning point in Beer's life, and it had change him in profound and lasting ways. As the Chilean biologist Humberto Maturana put it, 'Beer came to Chile a business man and left a hippie...'

'In 1974, he embarked on  a journey of spiritual and material re-invention, first by taking extended trips to the Welsh countryside. By 1976 he had relocated permanently to a small cottage [in a quarry] in Wales that lacked running water.'

'In 1981, he met Allenna Leonard at a cybernetics conference in Toronto [and she] became his partner for the rest of his life,' establishing a second home on the west side of downtown Toronto. From then on, he lived part of the year in both residences.

No doubt Stafford was distressed not only by the shocking end of Allende's regime. He felt a personal responsibility to help many of the people who'd been involved with in Project Cybersyn.

Medina reminds us that, during the Pinochet regime (1973-1990), more than 3,000 Chileans were "disappeared" or murdered by the government. On estimate is that 100,000 people (1% of the population) were tortured at that time. Medina writes: 'After the coup, Beer worked tirelessly to get his friends out of Chile and used his vast web of professional connections to help them establish new lives in other parts of the world.'

*
CYBERNETIC REVOLUTIONARIES

'In Chile, I know that I am making the maximum effort towards the devolution of power. The government made their revolution about it. I find it good cybernetics.' - Stafford Beer, February 1973

Eden Medina's scholarly investigation tells a complex tale at length. What follows is attempt to grasp the outlines of the story and to draw your attention to some aspects of the story I found most fascinating.

In her intro piece she writes:
'This book tells the history of two intersecting utopian visions, one political and one technological. The first was an attempt to implement social change peacefully and through existing democratic institutions. The second was an attempt to build a computer system for real-time economic control more than twenty years before the internet became a feature of everyday life.'

This was at a time when the US ARPANET, the predecessor of the internet, was still in its infancy and the Soviet Union had already tried and failed to build a national computer system for managing a planned economy.

In 1970 Chile had approximately 50 computers in the whole country, installed in the government and private sector. Most of them were out of date. Telephones were a scarce resource and connections were unreliable.

Stafford's system, with its Stanley Kubrick-style control centre, ran on one IBM mainframe and a network of telex machines at workplaces all over the country. These would send production date to a central telex. Chilean computer experts would then punch the data on to cards and feed them into the mainframe running a statistical analytic program. Any variations in the data could be feedbacked to the factory or port. The idea was good in principle but they only owned tow telex machines. Fortunately they did locate 400 unused telex machines in storage at the national telecoms centre.

The technical aspects of running such a system, including the design of the control centre, is a remarkable geek tale of problem-solving on the hoof with scant resources using huge human ingenuity. Its Apollo 13 time. 

Cybernetics at that time was not even considered a scientific discipline. Christened by Norbert Wiener in 1948 [drawn from the Greek kubernetes meaning 'steersman'], he defined it as the study of 'control and communication in the animal and the machine'. Attempts were made to make it a universal science but later it was widely realised that cybernetics assumed a variety of forms in different contexts. Another way of defining it that Medina quotes is 'a universal language for the scientific study of machines, organisms and organisations.'

Beer received a letter from Fernando Flores in July 1971 inviting him to set up a cybernetic project in Chile. Flores was a 28-year old engineer who had a leadership role in Allende's nationalisation project. Medina reports that Beer's intellectual reaction produced by the Chilean invitation was: "I had an orgasm."

Beer, Flores and a small team had to come up with a conceptual design and then turn that into a
real-life engineering project, produced to an aggressive timeline. An additional team was established in London to write the software. Beer presented the whole plan to Allende personally and secured his blessing.

Good progress was made but Nixon had authorised a CIA operation almost from the moment that Allende was elected to try and unseat them. Later came news that the telecoms giant ITT were working with the CIA and plans for a full economic blockade of Chile was put together by a considerable number of US corporatuons whose holdings in Chile had been nationalised.

When there was a nationwide October Strike in 1972 in which 40,000 truck owners went on strike, the Cybersyn set-up did help the government survive. They manged to get 99 telexes operating across the country connected to the Cybernet network. But the system in the end was too slow for office managers.

Apparently Beer was greeted in Chile as being a cross between Orson Welles and Socrates and the Cybersyn project had good press. But interestingly Beer's project was vilified in Britain by people who he might have expected to be on his side. Most damaging was a story in The Observer (7th Jan 1973) with the provocative headline 'Chile Run by Computer'.  'The article', Medina writes, ' portrayed the system in a way that was both damaging and untrue. It claimed: "The first computer system designed to control and entire economy has been secretly brought into operation in Chile" and described it as  having been "assembled in some secrecy so as to avoid opposition charges of 'Big Brother' tactics." {Medina found no evidence that is was a covert government initiative]. She continues: '..this early misreading of Project Cybersyn proved extremely difficult for Beer to correct.'


[Right: a picture of Victor Jara whose songs were the anthem of Chile's left. The article is captioned: 'First they took him to the stadium and broke his hands so he would never be able to play again...They took him out and shot him. He was defiant even as he died.' Article by Seamus Milne The Guardian. 22 Oct 1988. See trailer for 'The Resurrection of Victor Jara'


[The Generalist Archive]
*

The other person who has done most to bring knowledge of Stafford Beer's many achievements to a broader audience is the bookseller, writer, independent researcher and publisher David Whittaker.                                                                                                             He struck up a correspondence with Stafford in 1980 which went for 20 years. He published this 64pp book in 2003, under his own imprint Wavestone Press. It contains some 50 letters with linking text and interesting digressions  
This was followed in 2009 by a much chunkier 382pp volume entitled 'Think Before You Think: Social Complexity and Knowledge of Knowing' It includes a heterogenous collection of papers written by Stafford, almost entirely from 1974 onwards, after the Chilean experience. It also includes numerous poems and paintings. In the appendix is a valuable chronology of Stafford's life and his own account of his time in Chile. Stafford's vast knowledge base is very apparent as is his interest and knowledge of eastern thinking and beliefs. [Both books available from Wavestone Press]

I have left one of the most extraordinary facts about these books until last. The first contains an interview with Brian Eno; the second has an introductory essay by Eno. Yes, the same Eno who is one of the most influential figures in modern music, the inventor of Ambient. It turns out that Eno was actually taught by a cybernetician at art school and that Beer's 'Brain of the Firm' was the great influence on Eno's concept of self-generating music. Beer visited Eno's flat in Maida Vale in 1973 and Eno reciprocated with a visit to Beer's Welsh hideout in 1977, an event he describes in detail. It is clear from both pieces the important influence Beer exerted on Eno's thinking and music-making practice. Whittaker's first book also contains two short letters from Robert Fripp - another Beer fan. 
David Whittaker was first turned on to Stafford Beer through an interview with Eno by Ian MacDonald in the NME [Dec 3rd 1977]

** THE GENERALIST has been heartened by the fantastic reaction to this piece which has had 645 hits in the last 10 days (now 11/9/16), largely due to the fact that Eno liked my tweet on this post and retweeted it to his 77,000+ followers.


A remarkable man