[Frameworks] "And let me be Los Angeles.” - James Joyce - RIA - April 24 at Beyond Baroque (venice ca)

[Will Erokan]

*[[SHORT version]]*

*Apr 24, SUN** – LET ME BE LOS ANGELES – by RIA LIVE CINEMA. April
24, Sunday,* at 7pm at Beyond Baroque, 681 Venice Blvd, Venice CA 90291,
310-822-3006. Free admission. For more information: 310-306-7330
LAUGHTEARS.com <http://laughtears.com/>

“Let Me Be Los Angeles” is Gerry Fialka’s and Will Erokan's psychedelic art
party*** with stellar live musicians, dancers, poets, and
experimental films (multi-channel time based moving images) on three huge
video projection screens. This never-before-experienced
phantasmagoRIA (Resonant Interval Algorhythms) delves deeply into the
interconnections of place and the creative process in LA’s underbelly and
over soul. Its title comes from the *James Joyce’s line in Finnegans Wake:
"And let me be Los Angeles.”* Come to RIA’s total theater experience for a
fresh look at a city that has been home to many modern thinkers and where,
in 1939, an extraordinary creative explosion took place.

RIA stills & manifesto: http://laughtears.com/iwantmyRIA.html
 (the attachment is a photo of Erokan & Fialka by Dave Healey)

Youtube RIA : https://www.youtube.com/watch?v=H0fXZrkxsOU

Facebook https://www.facebook.com/events/1560698134253810/

***psychedelic art party AKA "expanded cinema," "projection performance,"
and "live cinema."
++++++++++++++++++++++++++++++++++++++

*[[LONG version]]*

*7 Dudley Cinema *presents* LET ME BE LOS ANGELES – by RIA LIVE
CINEMA. April 24, Sunday,* at 7pm at Beyond Baroque, 681 Venice
Blvd, Venice CA 90291, 310-822-3006. Free admission. For more information:
LAUGHTEARS.com <http://laughtears.com/> or 310-306-7330
RIA stills & manifesto: http://laughtears.com/iwantmyRIA.html
Youtube RIA : https://www.youtube.com/watch?v=H0fXZrkxsOU
Facebook https://www.facebook.com/events/1560698134253810/


*“Let Me Be Los Angeles”* is Gerry Fialka’s and Will Erokan's psychedelic
art party with stellar live musicians, dancers, poets,
and experimental films on three huge video projection screens. This
never-before-experienced phantasmagoRIA (Resonant Interval Algorhythms)
delves deep into the interconnections of place and the creative process in
LA’s underbelly and over soul. Its title comes from the James Joyce’s line
in *Finnegans Wake*: "And let me be Los Angeles."

Los Angeles has nurtured many visionaries and modern thinkers like Maya
Deren, Orson Welles, Aldous Huxley, John Cage, James & John Whitney, Marcel
Duchamp, Ornette Coleman, Luis Bunuel, Lord Buckley, Frank Zappa,
Captain Beefheart, Man Ray, Simon Rodia, Ernie Kovacs, Rod Serling, Manly
P. Hall, Aimee Semple McPherson, Korla Pandit, John Fante, Mike Davis,
and more.
RIA surveys their epiphanies and percepts.

In the spirit of the infamous salons of Ed Ricketts and Lionel Ziprin,
participants will uncover the hidden psychic effects of what humans create
and invent—effects that are both products of their time and futuristic. *As
Wyndham Lewis observed, "Artists are engaged in writing a detailed history
of the future because they are the only people who live in the present.”* The
presentation explores the basic functions of art, music, and poetry,
particularly as those functions relate to Los Angeles.  The presentation, *Let
Me Be Los Angeles,* takes as its inspiration this passage by Lionel Rolfe,
about the history of an explosively creative time in LA:
In literature, 1939 was a great year for the Los Angeles basin. There was a
strange and volatile mix of bohemianism and the apocalyptical brewing. This
was the year Aldous Huxley published *After Many a Summer Dies the Swan*,
Thomas Mann was laboring away on* Doctor Faustus* while living in the
Palisades. Malcolm Lowry began seriously writing *Under the Volcano *which
was about the Day of the Dead in 1939 in Los Angeles. It wasn't published
until 1947. He writes about a Cabalistic descent into the maelstrom that
was World War II. *Day of the Locust* was written in 1935 (published in
1939) on a hot summer day filled with fire, the Depression, and assorted
gloom and doom, leading the way from the essential hopefulness of bohemia,
despite all their hedonism and what not. The book paved the way for Joseph
Heller's *Catch 22* in the '50s. 1939 also saw *Grapes of Wrath*, *Day of
the Locust* and Raymond Chandler's *The Big Sleep." *

*Finnegans Wake* was published in 1939, which was also an important year
for related films, *The Rules of the Game, Gone with The Wind, *and
*The* *Wizard
of Oz.*  RIA’s show conjures up the aura and aria of the year 1939 in all
its splendor and explores the close relationship of the thirties to the
present.  As Joyce and Zappa have expressed, "All times are happening now."

Headed by agitprop artists Will Erokan and Gerry Fialka, RIA builds on the
thinking of Stan VanDerBeek, who is attributed with the words: "expanded
cinema" and "underground film." He stressed the multi-media event as a
communication tool, an "experience machine." RIA re-imagines the insights of
 VanDerBeek's *Movie-Drome.*.."as an apparatus that functions as a means
and place for interaction: an 'interface,'" a term introduced by Marshall
McLuhan in 1962. Interface connects individuals and audience participation.
RIA is everyone in the room ("Here Comes Everybody" - *Finnegans Wake*) c
ollaborating as one living organism. The RIA total theater experience (
*Gesamtkunstwerk*) creates the conditions where, in the words of Goethe,
"One can thus no longer separate the perceiver from the perception.”

RIA's environmental immersion with the audience ("spec-actors") is similar
to the aspirations of Anthony Braxton, composer, saxophonist, and musical
big-picture-ist. Ben Ratliff articulated (*NY Times* 2-21-16): "Braxton
wants the listener — or what he calls the'friendly experiencer' — to move
through the pieces as if they are environments; and he wants all of his
work to coexist in the same space. 'So the aesthetic and mystical signature
of the music,' he said, 'can’t be experienced one composition after the
next — but rather in the context of a sonic explosion.'"

*RIA is influenced by Craig Baldwin, who expressed interest in making "a
film that not only talked about mass hypnosis, but a film that does
hypnotize you." RIA plays like Umberto Eco's "Multimedia Arcade."*

RIA invents new metaphors and asks key questions.  Aren’t all times
happening now? Can we reprogram the environments of our inventions? How do
we de-hypnotize ourselves? Can art, science, and nature converge into
synesthesia?   How can we understand "place as art," using LA as a case
study?  As Carey McWilliams wrote, “LA did not acquire an image so much as
it projected an image which produced a city." This stimulating, enlivening
presentation invites you to look creatively inside and out . . . and as so
many have been before, to “BE LOS ANGELES.”

*"Who digs Los Angeles IS Los Angeles!" - Allen Ginsberg, Footnote to Howl*
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