Thursday, May 24, 2018

The Rendering of Watchmen: "Most of my work was designed to be un-filmable"








"Whenever anybody talks about comics, they usually make a great deal about the similarities between comics and film. And while I'll agree that a comic creator who understands cinematic techniques will probably be a better creator than one who doesn't, I feel that if we only see comics in a relationship to movies, then the best that they will ever be are films that do not move. I found that in the mid-80s preferable to try and concentrate upon those things that ONLY comics could achieve: the way in which a tremendous amount of information could be included visually in every panel; the juxtapositions between what a character was saying and the image that the reader was looking at. So that, in a sense, I guess you could say that most of my work from the 80s on was more designed to be un-filmable. This is what I had to explain to Terry Gilliam when he was originally selected as the director on the touted Watchmen movie that was being discussed at that time."

- Alan Moore in the film, The Mindscape of Alan Moore



Damon Lindelof recently wrote a five page letter to the fans of the graphic masterwork, The Watchmen by Alan Moore and Dave Gibbons. Evidently, he has been hired by HBO to create a pilot set within the Watchmen world. His intensly personal letter (see pdf) is written in the "quantum style" of Dr. Manhattan / Jonathan Osterman.

"I am two-hundred and twenty-seven million kilometers from the sun. Its light is already ten minutes old. It will not reach Pluto for another two hours. Two hours into my future, I observe meteorites from a glass balcony, thinking about my father. Twelve seconds, into my past, I open my fingers. The photograph is falling. I am watching the stars. Halley's Comet tumbles through the solar system on its great, seventy-six year ellipse. My father admired the sky for its precision. He repaired watches. It's 1945, I sit in a Brooklyn kitchen, fascinated by an arrangement of cogs on black velvet. I am sixteen years old. It is 1985. I am on Mars. I am fifty-six years old. The photograph lies at my feet; falls from my fingers, is in my hand. I am watching the stars, admiring their complex trajectories through space and time. I am trying to give a name to the force that set them in motion." [source]

Watchmen is a work of transcendent art, fully realized within the medium of comics, or "the graphic novel." In the calculus of aesthetics, it approaches perfection. The necessary reductions of film - where visual puns between frames are lost, where the imaginative action inferred in the gutter between two panels is forgotten, where big splash panels are diminished - these adaptations cut away much of what is extraordinary about the work as a supreme instance of content beautifully interwoven with form.

Alan Moore again:

“I find film in its modern form to be quite bullying. It spoon-feeds us, which has the effect of watering down our collective cultural imagination. It is as if we are freshly hatched birds looking up with our mouths open waiting for Hollywood to feed us more regurgitated worms. The ‘Watchmen’ film sounds like more regurgitated worms. I for one am sick of worms." [source]

For years I have read with concern the reports about making a film of Blood Meridian.  McCarthy exploits, explores and expands all of the tropes, tricks and tools of the novel to create a world that has no translation into any other form, especially film. In my estimation, Blood Meridian is un-translatable. The Divine Comedy, Don Quixote, Moby Dick are all, at their core, resistant to even "faithful" adaptation.

I am in no way condemning inspiration and authentic response, the creation of new artifacts from the old. But these are not translations or adaptations or sequels. No one considers The Aeneid to be a sequel to the Iliad, or the Divine Comedy to be an adaptation of The Aeneid.

Moore is dead on: as a culture we have become entirely happy and satisfied with watered down "regurgitations."

The question of whether the movie is better than the book makes the same sense as dancing about architecture.

Imagine making a movie of Crane's The Bridge or Eliot's Four Quartets. Who would even think of making such an obscenity? Perhaps, rendering is the more apt term here - as when a dead animal is rendered into more palatable parts.

Chopin's answer also comes to mind. When asked what a particular Nocturne meant, he simply played it again.

Who would ever consider / believe a "translation" of Beethoven's 9th into another mode of expression: poetry, prose, comic, film? There is no translation for music, no abridgment, no bowdlerization, no censoring. There is only diminishment, loss, reduction and error. A child can perform the first notes of Beethoven's 5th. But it is not Beethoven's 5th.

Nabokov, typically cantankerous and contrary, is insighful here regarding translation:

"Three grades of evil can be discerned in the queer world of verbal transmigration. The first, and lesser one, comprises obvious errors due to ignorance or misguided knowledge. This is mere human frailty and thus excusable. The next step to Hell is taken by the translator who intentionally skips words or passages that he does not bother to understand or that might seem obscure or obscene to vaguely imagined readers; he accepts the blank look that his dictionary gives him without any qualms; or subjects scholarship to primness: he is as ready to know less than the author as he is to think he knows better. The third, and worst, degree of turpitude is reached when a masterpiece is planished and patted into such a shape, vilely beautified in such a fashion as to conform to the notions and prejudices of a given public. This is a crime, to be punished by the stocks as plagiarists were in the shoebuckle days." [source]

Lindelof clearly honors The Watchmen. His letter is well-written and full of passion. However, in his quantum style, I read the anxiety of a man being paid an enormous sum of money to kill the thing he loves.

God help me for quoting Bono:

It's no secret that a conscience can sometimes be a pest
It's no secret ambition bites the nails of success
Every artist is a cannibal, every poet is a thief
All kill their inspiration and sing about their grief

I understand, of course, the Lindelof is not attempting to re-tell the canonical Old Testament story of the Watchmen. Rather, he says he wants to explore new possibilities in that world in the same manner as the New Testament extended the possibilities of the Old. It's a clever tactic, as old as Don Quixote. But recall, it was the unauthorized publication of a sequel to the original spurred Cervantes to write Part Two and allow Don Quixote his rightful death.

Unfortunately, Hollywood refuses to allow any character (or imaginative world) a rightful death, digging them up again like Webster's wolves, no final rest when they can continue to feed and make money off of the corpse.

Call for the robin-red-breast and the wren,
Since o'er shady groves they hover,
And with leaves and flow'rs do cover
The friendless bodies of unburied men.
Call unto his funeral dole
The ant, the field-mouse and the mole,
To rear him hillocks that shall keep him warm,
And (when gay tombs are robbed) sustain no harm,
But keep the wolf far thence, that's foe to men,
For with his nails he'll dig them up again.
Let holy Church receive him duly,
Since he paid the church-tithes truly.

- John Webster



Tuesday, April 10, 2018

A Conversation with Shelton Walsmith: "Somehow the question keeps the torch lit."


Shelton Walsmith



SC: Again, I'm always in for the more restrained color palette. The Mytho-poetic imagery. I've been reading Book 6 of the Aeneid, the journey of Aeneas into the underworld in search of his father. Just before he died, Seamus Heaney made a translation. Upon finally finding the shade of his father, Aeneas attempts to embrace him:

"Let me take your hand, my father, 

O let me, and do not
Hold back from my embrace.

And as he spoke he wept. 

Three times he tried to reach arms round that neck.

Three times the form, reached for in vain, escaped

Like a breeze between his hands, a dream on wings."


Shelton Walsmith

Shelton Walsmith


SW: I like the pitch of the emotion in that writing. I recently saw Teagle in the play Is God Is? Most of the performance is in a claustrophobic shallow set with a windowed wall close to the front of the stage. Towards the end, Teagle pushes the wall backward and it falls with a crash at a 45 degree angle. He then climbs it to have a showdown with a daughter who's come to kill him. The 4th wall of theater transgressed.

SC: I've been listening to Lee Morgan's Cornbread. It's pure Sunday morning to me.

SW: He managed to infuse those recordings with with joie de vivre.

SC: Overflowing exuberance.

SW: I can turn my frown upside down by simply playing Sidewinder record. Same thing with Django Reinhardt.



Shelton Walsmith


SW: Couldn't find any Lee Morgan at the studio but looking I rediscovered a great by Lee Konitz titled Another Shade of Blue.

SC: I'll check it out. I've always admired how prolific jazz musicians are. Hundreds of albums. The live improvisation and "real presence" of the music being antithetical to closeted perfectionism and hermetic solipsism. 


Shelton Walsmith


SW: Here here. A lot of stuff in the heyday pre-1963 is praying - a very clear transcription of presence. Did you read Giacometti discussing the pursuit of presence? He was all about exposing the ghost and making it playback - recording the playing as it lives -  as you mention. The records of Segovia, Glenn Gould or Kronos Quartet are performance/recorded like jazz live. 

It's been a blessing to take on this bather exhibition. Like you saying, I'm Back! to yourself at the Bellingham library. While I'm drawing studiously daily, I feel most at home. Going through tons of moleskins looking for precedent is a also reminder how much energy and looking and recording I've devoted to drawing. It's an instrument of human thought sounding or touching. It's a lot of rehearsing for painting but it also remains strong as an end to the means.

SC: Not to remark upon a trivial example, but perhaps appropriate for its lack of pretension, I am increasingly aware of how unconsciously practiced and accomplished am I for this work. As if some Mr Miyagi from the Karate Kid has had me painting the fence or waxing the car for years, honing skills I was unaware I possessed. Over 20 years meditation upon a theme, writing poems, songs, prose, creating graphics until is all second nature, like riding a bike. I no longer think about writing: it is an unconscious vehicle to transport me to my destination. I'm pretty happy when I realize this anew. Look ma! No hands!

SW: Exactly.


Shelton Walsmith

Shelton Walsmith

Shelton Walsmith


SC: The immediate provisionality of the sketchbook, the "showing of the work", is always fascinating. Seeing how the sausage is made. Or perfume.


Shelton Walsmith


SC: Sweet.


Shelton Walsmith

Shelton Walsmith

SC: Something in the natural, but muted eroticism of the bathers. Not nude, but just there. The idea of the Venus de Milo in a bikini. It's interesting.

SW: There's something to how open the kimono is...revealing the right amount hiding the best parts. I want to tap into an endless summer atmosphere wherein ghosts are represented as passersby in rivers and lakes and surf. You're always younger when you're swimming and younger is always past. It's a proverbial fish bowl looked on by Prospero. 

SC: Nicely put. Re: Eliot:

Now the hedgerow
Is blanched for an hour with transitory blossom 
Of snow, a bloom more sudden 
Than that of summer, neither budding nor fading, 
Not in the scheme of generation.
Where is the summer, the unimaginable Zero summer?


Shelton Walsmith

Shelton Walsmith


SW: I've continued to study Mark Tansey for his monochromatic mastery and disjointed narrative send offs on sentiment, nostalgia, redacted history and painting about painting. See his "Action paintings"1 and 2. Making grayscale or monochromatic fiction emerges, it's not true to life in it's reduction to tonal over coloristic. My inquiry into how to make it more artificial than lifelike launches a type of Once upon a time...

By grouping them as diptychs or triptychs the additional frame or filmic cell reels another engine of narrative movement


Shelton Walsmith

Shelton Walsmith

SC: Those are excellent. The Muybridge filmic nostalgia.

SW: Like the Disney analogue animation m.o. endless drawings, same but different, not just feeling innocence but also and reanimated call and response btw having it and losing it. Reality vs. recollection. Someone remembered so often their face gets warn off until the memory is grasping as featureless ghosts receding.


Shelton Walsmith


SW: The sexual highlight reel too often revisited goes from lucid real time play by play recollection to blippy gif like compression. Instead of the short film you had now the memory 3 or 4 vignettes flipbooking then it's one long exposure compressed into a single image then  that photograph becomes worn and loses detail to wear and attrition...


Shelton Walsmith

Shelton Walsmith

SC: You are exactly right. Film offers an all too easy metaphor for memory that, while evocative, is not accurate. I think people born in the age of film and now smart phones will think of memory as a message aligned with those mediums: a slow motion panning shot of a walk to the altar, soundtracked with a favorite song, close up on the face, or, far worse, their lives as a series of posed/ not posed filter / no filter selfies. The creative and interpretively demanding windows opened by a work of art with its constantly shifting meanings and aporia are traded for these more compressed representations of the experience - the plastic souvenir remembered instead of the experience itself. The capacities of memory are vast and energized by immersion to the most profound depths. Borges said one of the most signal moments in the development of Western culture was when Aeschylus introduced a second actor onto the stage. No longer a single singer or priest addressing the crowd directly, but a re-presentation of reality, as two actors magically create a dramatic universe we view as non-participatory spectators. No wonder the earliest memory systems were memory theaters. Internal private stages where we each enact our own myths. Something Freud "discovered" as a unexplored country within. 

SW: Isn't interesting that in the first chapter of photography that a negative image needed to be born before it's positive inverse could document the latent image?

A lot of those glass plates that documented Civil War death were destroyed or repurposed as greenhouse windows. It was best forgotten and the photos were a terrible reminder. That reminds me of the Van Gogh scholar researching his haunts and homes discovering a former landlord was using one his paintings traded for rent as the door to her henhouse. The real fate of most pictures rather than d'Orsay, Sotheby's or Hong Kong penthouses.

SC: There is something philosophically and aesthetically beautiful about those images. The eternal question: what is art good for? What does it do? For some, it's a good window, something with which to build a door. Keiffer's monumental leaden books come to mind. But so do the pyramids. And Guernica. 

SW: The use of art or the use of the art encounter is best from the cheap seats in a theatre watching a play. No one's fooling anybody from there and the necessary suspension of disbelief is transferrable into poetry, music and the plastic arts if one needs to ask the question, to what end? Or what use is it?  Suspension of functional practicality. Why take soot or blood and make a handprint or drawing of a bison on the cave wall? To what end? Somehow the question keeps the torch lit. Imaging or reimagining or projecting of mere shadows of the real thing ignites inquiries into the substance of sight and the weight of remembering. Mona Lisa looks at us looking at her and a cycle of wonder loops.

SC: Beautiful. Could my epitaph: 

"To what end? Somehow the question keeps the torch lit. Imaging or reimagining or projecting of mere shadows of the real thing ignites inquiries into the substance of sight and the weight of remembering."

SW: Often progress in art is retrospective like turning your back to the mirror and panning your sightlines back over your shoulder at the view you walking away. Michaelangelo is looking at the ancients and literally thinking, to beat these are guys 

...to beat these guys I need to see  grandeur and monumentality as they saw/projected it. 

Kiefer progressed art by seeing/deposing Nazi hegemony in favor of a pre third Reich Mother Germany. All thru backward visioning. The PreRaphaelite painters pushed into magic realism by genre hopping backward.

SC: Consonant with Borges idea that a writer's awareness of his precursors not only informs his present work, but alters our conception of the past. History is a lie of the mind and as fluid as any story. Thus, he says we now know Homer's Odyssey as coming AFTER Joyce's Ulysses. He cites Whistler's answer to the question of how long it took him to paint one of his nocturnes. Whistler answered, all of my life. "With the same rigor he could have said all the centuries that preceded that moment when he painted were necessary."


Shelton Walsmith


SW: When you answer To what end?  With a political message in visuart at least those aforementioned suspensions become flattened and rigid and to an known end. Political art smells like a doctor's office.

SC: The etymological sense of porno graphia - writing about prostitutes, those who allow themselves to be bought and used for other's purposes. Most of our current culture is pornography to me, more insidious because it tries so desperately to pretend as if it is not. 


Shelton Walsmith


SW: Yeah, we're a mess.

SC: 
Well, I went to the doctor
I said, "I'm feeling kind of rough"
He said, "I'll break it to you, son"
"Let me break it to you, son"
Your shit's fucked up."
I said, "my shit's fucked up?"
Well, I don't see how-"
He said, "The shit that used to work-
It won't work now." - Warren Zevon





Tuesday, May 09, 2017

Give not that which is holy unto the dogs


From the Paris Review: Writ in Water


Jesus, Socrates and the Buddha, never wrote any word that has been preserved.

1 Jesus went unto the Mount of Olives.
2 And early in the morning he came again into the temple, and all the people came unto him; and he sat down, and taught them.
3 And the scribes and Pharisees brought unto him a woman taken in adultery; and when they had set her in the midst,
4 They say unto him, Master, this woman was taken in adultery, in the very act.
5 Now Moses in the law commanded us, that such should be stoned: but what sayest thou?
6 This they said, tempting him, that they might have to accuse him. But Jesus stooped down, and with his finger wrote on the ground, as though he heard them not.
7 So when they continued asking him, he lifted up himself, and said unto them, He that is without sin among you, let him first cast a stone at her.
8 And again he stooped down, and wrote on the ground.
9 And they which heard it, being convicted by their own conscience, went out one by one, beginning at the eldest, even unto the last: and Jesus was left alone, and the woman standing in the midst.

Some claim he wrote the names of all those who were with sin, shaming them. Others that he inscribed into the earth the names of all those who didn't believe. Or that he wrote a single word: Unforgiven. But there is no indication any man ever read the only words ever written down in the dust by Jesus. It's amusing to consider he, like the wily Ulysses, wrote: "No Man," for it illuminates the following exchange with the adulteress:

10 When Jesus had lifted up himself, and saw none but the woman, he said unto her, Woman, where are those thine accusers? hath no man condemned thee?
11 She said, No man, Lord. And Jesus said unto her, Neither do I condemn thee: go, and sin no more.

All of this just antecedent to the book chapter verse of John 3:16 written upon sheets hung over stadium walls where we go to witness violence. Most recently, upon the forehead of a suicide. Unforgiven. No Man.

In the essay, On the Cult of Books, Borges writes:

It is well known that Pythagoras did not write; Gomperz (Griechische Denker I, 3) maintains that it was because he had more faith in the virtues of spoken instruction. More forceful than Pythagoras' mere abstention is Plato's unequivocal testimony. In the Timaeus he stated: "It is an arduous task to discover the maker and father of this universe, and, having discovered him, it is impossible to tell it to all men"; and in the Phaedrus he recounted an Egyptian fable against writing (the practice of which causes people to neglect the exercise of memory and to depend on symbols ), and said that books are like the painted figures "that seem to be alive, but do not answer a word to the questions they are asked." To alleviate or eliminate that difficulty, he created the philosophical dialogue. A teacher selects a pupil, but a book does not select its readers, who may be wicked or stupid; this Platonic mistrust persists in the words of Clement of Alexandria, a man of pagan culture: "The most prudent course is not to write but to learn and teach by word of mouth, because what is written remains" (Stromateis), and in the same treatise: "To write all things in a book is to put a sword in the hands of a child," which derives from the Gospels: "Give not that which is holy unto the dogs, neither cast ye your pearls before swine, lest they trample them under their feet, and turn again and rend you." That sentence is from Jesus, the greatest of the oral teachers, who only once wrote a few words on the ground, and no man read what He had written (John 8:6).

 Following, Plato tellingly writes the words of Socrates in the Phaedrus:

Soc. At the Egyptian city of Naucratis, there was a famous old god, whose name was Theuth; the bird which is called the Ibis is sacred to him, and he was the inventor of many arts, such as arithmetic and calculation and geometry and astronomy and draughts and dice, but his great discovery was the use of letters. Now in those days the god Thamus was the king of the whole country of Egypt; and he dwelt in that great city of Upper Egypt which the Hellenes call Egyptian Thebes, and the god himself is called by them Ammon. To him came Theuth and showed his inventions, desiring that the other Egyptians might be allowed to have the benefit of them; he enumerated them, and Thamus enquired about their several uses, and praised some of them and censured others, as he approved or disapproved of them. It would take a long time to repeat all that Thamus said to Theuth in praise or blame of the various arts. But when they came to letters, This, said Theuth, will make the Egyptians wiser and give them better memories; it is a specific both for the memory and for the wit. Thamus replied: O most ingenious Theuth, the parent or inventor of an art is not always the best judge of the utility or inutility of his own inventions to the users of them. And in this instance, you who are the father of letters, from a paternal love of your own children have been led to attribute to them a quality which they cannot have; for this discovery of yours will create forgetfulness in the learners' souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth; they will be hearers of many things and will have learned nothing; they will appear to be omniscient and will generally know nothing; they will be tiresome company, having the show of wisdom without the reality. 

Language dissolving like a castle of sand in the advancing surf. The woven pattern raveling unraveling, reversive, intensive, ambiguous. The word cannot contain the thing :: as the thimble cannot contain the ocean. All acknowledge it stands for, signifies, but is not the thing itself. But a malevolent cogito emerges when spelled out into words: I think, I am but when I write, I am no longer. Every word is a Procrustean Bed wherein my flesh is carved away and limbs hacked off to fit into a dead child's Sunday School suit. I am not so described. The Cloud of Knowing that is my self is a Galaxial Milky Way whirlpool whirling.

"For this discovery of yours will create forgetfulness in the learners' souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth."

What testimony will endure of any one of us? What is the meaning of the word written into the dust? Or upon the water? Or upon the stone?


This grave contains all that was Mortal 
of a 
Young English Poet
Who 
on his Death Bed, 
in the Bitterness of his Heart 
at the Malicious Power of his Enemies 
Desired 
these Words to be engraven on his Tomb Stone: 

Here lies One 
Whose Name was writ in Water. 

24 February 1821.



James Henry Breasted copying a hieroglyphic text in the temple of Buhen, Egypt


He pressed the leaves of trees and plants into his book and he stalked tiptoe the mountain butterflies with his shirt out-held in both hands, speaking to them in a low whisper, no curious study himself. Toadvine sat watching him as he made his notations in the ledger, holding the book toward the fire for the light, and he asked him what was his purpose in all this…
Whatever exists, [the Judge] said. Whatever in creation exists without my knowledge exists without my consent.
He looked about at the dark forest in which they were bivouacked. He nodded toward the specimens he’d collected. These anonymous creatures, he said, may seem little or nothing in the world. Yet the smallest crumb can devour us. Any smallest thing beneath yon rock out of men’s knowing. Only nature can enslave man and only when the existence of each last entity is routed out and made to stand naked before him will he be properly suzerain of the earth…
The judge placed his hands on the ground. He looked at his inquisitor. This is my claim, he said. And yet everywhere upon it are pockets of autonomous life. Autonomous. In order for it to be mine nothing must be permitted to occur upon it save by my dispensation.
Toadvine sat with his boots crossed before the fire. No man can acquaint himself with everything on this earth, he said.
The judge tilted his great head. The man who believes that the secrets of the world are forever hidden lives in mystery and fear. Superstition will drag him down. The rain will erode the deeds of his life. But that man who sets himself the task of singling out the thread of order from the tapestry will by the decision alone have taken charge of the world and it is only by such taking charge that he will effect a way to dictate the terms of his own fate. 

- Blood Meridian, Cormac McCarthy 



Friday, April 28, 2017

"Occasionally, we find that an invited guest is insane."





"This generally cheers us all up."


"I'm not interested in writing short stories. Anything that doesn't take years of your life and drive you to suicide hardly seems worth doing." - source


"Stacking up stone is the oldest trade there is," he says, sipping a Coke. "Not even prostitution can come close to its antiquity. It's older than anything, older than fire. And in the last 50 years, with hydraulic cement, it's vanishing. I find that rather interesting." - source


"A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained weddingveil and some in headgear of cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or saber done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses’ ears and tails worked with bits of brightly colored cloth and one whose horse’s whole head was painted crimson red and all the horsemen’s faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools." - Blood Meridian


"He imagined the pain of the world to be like some formless parasitic being seeking out the warmth of human souls wherein to incubate and he thought he knew what made one liable to its visitations. What he had not known was that it was mindless and so had no way to know the limits of those souls and what he feared was that there might be no limits." - All the Pretty Horses





Quotes sourced via https://en.wikiquote.org/wiki/Cormac_McCarthy



Monday, April 10, 2017

9 Currency Détournements from the Charles B. Jones Digital Archive

5 Huesos - Banco de Huesos
Currency Détournement, Charles B. Jones. c. 1994


Towards the end of his life, Charles B. Jones was fascinated by the idea of détournements. He described these as “appropriations of established images and symbols of authenticity re-purposed for play - especially, philosophical play.”

Completed in the mid-1990s, these currency détournements represent some of the earliest, but most sophisticated, works in the Digital Archives. Unlike the Stamp Series, these were never meant to be used as any form of currency, but to function as a form of agit-prop - perhaps even as stand-alone works of art.
500 Bones for the King of Death
Currency Détournement, Charles B. Jones. c. 1994

1 Bone - Treasury of the Final Reckoning
Currency Détournement, Charles B. Jones. c. 1994

1000 Bones - Paid Upon Death
Currency Détournement, Charles B. Jones. c. 1994

Ten Immaculate Bones - National Bank of the Final Reckoning
Currency Détournement, Charles B. Jones. c. 1994

500 Bones - The One True Treasury
Currency Détournement, Charles B. Jones. c. 1994

500 Bones - The Republic of Bones
Currency Détournement, Charles B. Jones. c. 1994

20 Skulls - Skulls Cerificate
Currency Détournement, Charles B. Jones. c. 1994

20 Skulls - The United States of Death
Currency Détournement, Charles B. Jones. c. 1994


Biographical Note

Charles “Bonesy” Jones (August 6, 1945 to November 15, 2005) was an American graphic artist, writer and poet. Reputedly born in Little Hope, Texas, much of his early life is unknown.

In 1962, Jones was graduated from the Steiner College of Ontological Osteology. From 1965 until 1972 he lived in an international art colony north of Abiquiu, New Mexico, working as a abstract painter and a poet, receiving some money from his family. There, he carried out anthropological research with the Penetintes and was involved in several controversial crucifixions. In 1973, he traveled to Mt. Athos in Greece where he studied the teachings of Theophan the Recluse under the guidance of Archimandrite George, Abbot of Holy Monastery of St. Gregorious. He returned to the United States in 1983, settling in Austin, Texas, operating a small bookstore near the University for many years.

Just after the first of the year of 2005, Jones was struck by a car while riding his bike. He suffered extensive head injuries. Shortly after, he began to experience selective retrograde amnesia and a progressive anomic aphasia (grammatic, but empty, speech). In October of that year, realizing he did not have long to live, he asked me to assist him in the journey back to his “spiritual home.” He died beside the fire under the full moon of November 15th in the hills above the Chama River in New Mexico, not far from the Monastery of Christ in the Desert.