Category Archives: Confraternity of Neoflagellants

PAN-PAN | Confraternity of neoflagellants

Knott Project Space, SAW Video, Ottawa 🇨🇦 16 Oct – 16 Nov 2019

PRESS RELEASE

‘You do not interpret the [———]. You are [———].’ The Duke of Biarritz Malware Voices: 13.1

Culture lives here? Gyeah?

Taped together only by the blak and blo brocages of blasfeme secreted by two sandgrabbers who accrued and thickened your presence over time? Can’t justify the how-low-can-you-go MHz of those Seinheiser HD800 EVP collect calls? Feel an overriding sense of ennui languidly inhazing to-tal-ly Bogan seul-anise ‘Hot Box Menace’? Stubbornly inert heaps of no-flow interference merely placating the micro-movements of bolt-on contentworld? ©king a little more than 99.07% blobbogramatic matters of actual gästermagoria?

Blow off all your fun socks. Just PUSH! Make fierce pH and totally gutshaft straight through gelatinous copper. MHzzzzzzzzzzzzzah! Lose your unknown cargo unto the swirling quotidian-circuits that peristaltically convulse the gastro-investigative wambuterus of þan-þan.

þan-þan. Unpasturised horse-class autogenerative REXLLA Plusigone [STATIC] fermented Can-Con dolloromoburþing a relentless low-end patina of vagrant WeRLtd-certified New Forrest Mall mondegreen. þan-þan. Pressure-farmed parasitical panarchic pool of future-dead mould-casts, auditory pareidolia divination, defibrillated [userexperience] and compurgation swarms topped with a steamin’ hot speziality SCOBYGrandeu®.

PUSHH! Beaver-gutslammin’ Oh [UX] Henry! vending phenomenon that faithfully reconstruct all traces of deuterocanonical clickbait ever left in mash by warpy prongs. PUSSSHHHHH! Bloody-edge WrinkleTech™ Can-Crock Pots that put a donk on all ylemmy stick-craft memes and smash the basal buttons of even the grubbiest gossamer silicate dermis. Gyeah!

REDUCE! Engorge the inevitable reversibility of this spore-bearing crescendo by playing the sous-chef vainly attempting to remove the cous from the cous-cous. REDUCE! Redemption by re-viewing review of redemption of Amazon CAD$50 Gift Voucher Redemption Review.

Culture lives; here! gYEAHHHHHHH!!

The Pan-Pan Myth-System (or Psychosis as Method)

Simon O’Sullivan

What fresh heresy is this? Is this a joke?? Will no one stop them? Where are the guards, cops, bailiffs, etc, etc? Has the publisher no self-respect? No editors and censors or sense of decorum??

Psychosis as Method, here masquerading as para/post/pan-commodity prophesy/futurising and animist drama. No one – NO ONE! – will be convinced by this! These avatars and image-functions – laid out flat here, as on a table-top – will do nothing to assuage the opinion of those gate keepers that have never ceased to claim: ‘There are, after all, limits to the symbolic order!’  And (under their breath): ‘It’s called thee doxa for a reason you know!’ Imagine a future-traveller/neo-medieval© pilgrim chancing upon all this – in the charnel grounds – imagine their horror to read, again, about the adventures of the tech and of the mall, of how things might have been – and how, here, the things he/she/they hold dear have been cut-up, spliced together…the detritus of all that lays around us reanimated and repurposed. Her mother was burnt for less! Here, then, is a looping backwards and forwards so quick as to cause whiplash. I am not writing this to warn you off – who am I to talk? – but, Dear User-Group, please be aware: what you hold in your hands/are about to read on your screens is not what you might expect from a book or syllabi. It is text/un-text as test and time-travel, not so much about another futural world as summoned here – for youze – from it. A codex that, when seen FROM THE CORRECT ANGLE, performs a transportation. If, whilst reading, you are making notes and, reading them back, you begin to make some sense from the various scenarios and phrasings – as if something, finally, is cohering, foregrounding itself…or, indeed, as if the vast assemblage is beginning, at last, to tip – then let me say immediately that you have been very much miss-stark-en – there is no such meaning here – not for you lot, with your heads on your shoulders walking around on your feet as if its the most natural thing in the world. On no, no siree. No, this is NOT a book to be READ by the likes of you! It is, perhaps, a pattern and diagram for something behind you…something you will have helped made (if you are lucky enough to have worked in IT), but which, now, does not recognise your all-too-human operating procedures and protocols. You might call it fik-shun but this is only to begin to approximate what its performance and programme is. Things here are decidedly not what they seem. To enter the pan-pan myth-system is already to be seen, interpolated by it – and thus to already be caught within its test. Try it for yourself: drill down in to any of the so-called paragraphs that follow and you will see that the syntax is specifically for you…don’t think about it just DO IT! NOW!! In fact, if you have read this far then it is more than likely already too late. Understand? The Mushroom King – if he really is a king – has you already on trial! The Great Moderator has already taken you up in their huge hand and turned you slowly under their twinkling eyes. And the future-dead with their Dog Heads are already here to carry out the sentence and spend their coupons. Pan-pan, for youze all gathered here, is a grimoire, yes, but it is also, before it’s too late, A WARNING!

in medias res : nonmodern art

postmedieval: a journal of medieval cultural studies (2019)

Scheihing Edgardo FlickrMeteorito El Chaco Meteorito_El_Chaco_100_2422 8 September 2011, 17:28:25 This file is licensed under the Creative Commons Attribution 2.0 Generic license.

As contemporary artistic practice has become ever more polymorphous and multispatial, large scale exhibitions have accommodated a wider array of emerging nonmodern epistemologies, materialities, and temporalities ‘in the middle’ (Latour, 1993, 47). As a critical means of considering contemporary art’s homologous non-modern, this paper refracts two influential global exhibitions of contemporary art – dOCUMENTA (13) and Il Palazzo Encyclopedia – through the lens of Medievalisms Studies. Medievalisms Studies’ challenge to the ‘simplified binarization of premodernacts and modern identities’ (Fradenburg, 1997, 213) invites deeper scrutiny of contemporary art’s knowledges, materialities, and chronopolitics. Developing the medievalist analogies of the compendium and the relic, I focus on specific exempla presented within the curatorial frameworks of two key biennale that offer a macro-cosmic discourse on contemporary art’s developing relations with knowledges, materials, and time. In unfolding anachronic materialist narratives, a nonmodern sensibility promised to liberate emerging art from the social constructivist paradigms that still dominate contemporary art. As a corollary of their nonmodern materialist epistemologies, the biennale that form my exempla also attempted to (dis)place the practices they curated through a polytemporality in which now-and-then and here-and-there areintertwined.

Link to article in postmedieval

Alternative Truths: How Small London Shows Are Reviving Popular Subcultures

Confraternity of Neoflagellants in Most Dismal Swamp 002: Whale Fall, Gossamer Fog, London review by Mimi Chu in frieze Issue 203 May 2019

The Confraternity of NeoflagellantsAmazon €50 Redeemed Gift Rooster Booster No-Crow, 2019, JPEG.

MInTOone80Five (NOT Clickbait!) (2019)

Confraternity of Neoflagellants, still from MInTOone80Five (NOT Clickbait) (2019)

MInTOone80Five (NOT Clickbait!) (2019)
Confraternity of Neoflagellants

A swampscape commission from Most Dismal Swamp
Features in Most Dismal Swamp 002: Whale Fall
Launch 29th March 2019, London

Instagram: @most_dismal_swamp
www.mostdismalswamp.com

Whale Fall curated by Most Dismal Swamp

Private view 29th March 6-9pm,
Gossamer Fog

186a Deptford High Street, SE8 3PR London, England
Exhibition continues 30th March – 28th of April
Swamp Angels:
@baojiaxiang, Scrabulous Anomaly in the Re-write Department, Confraternity of Neoflagellants, Department of Decay, Lewis Den Hertog, Plastique Fantastique, Bianca Hlywa, AGF HYDRA, Marija Bozinovska Jones with MBJ Wetware, Natalia Janula, Alexandra Koumantaki, Peter Lee, Christopher Macinnes, Piano Princess, Hannah Rose Stewart, Marta Stražičić, Tea Stražičić, Theo Triantafyllidis, Jennifer Walton.

Whale Fall is the carcass of a fetid dataset by 19 artists working across digital media, installation, performance, fashion, music, film and theory-fiction. At Gossamer Fog, it is remixed and presented as a site-specific film installation.

It is a project by Most Dismal Swamp, an experimental art platform and record label simulating and exploring a contemporary ecology that has come to be defined by the hallucinatory entanglement of multiple logics, systems, temporalities, and realities: a mixed-reality paradigm; a pervasive, horizonless swampscape.

Whale Fall focuses on the diverse bodies emerging from and inhabiting this ‘swampscape’, and how they might pose challenges to orthodox conceptions of personhood, intelligence, corporeality, and life. Do these categories perhaps even harbour assumptions that erase difference and confine the possibility-space of human social, ethical, technological, intellectual, political development? In other words, might an uneven and combined heresy (a revision of the human) possibly emerge from the somatic mutations and social transformations native to the swampscape?

A version of Whale Fall can be watched online at www.mostdismalswamp.com. And a digital release of the music by Jennifer Walton featured in Whale Fall, entitled Winged // Dislocated will also be available via Most Dismal Swamp and across all major streaming platforms.

This exhibition has been made with support from Arts Council England.
_______________________________

Most Dismal Swamp is a mixed-reality biome, an art platform, a multi-scalar mystic fiction, a forecasting laboratory, a long tail, a transitional ecosystem, a party, a cognitive scaffold, a bad dataset, a curatorial MMORPG, a memeplex aggregator, a planetary weirding studio, and a record label.

It is a model for parsing, navigating, and elaborating a Dank Enlightenment: globally variable synaesthesia across multiple and simultaneous dimensions.

www.mostdismalswamp.com

🐲@Neoflagellants : The Middle Ages in the Modern World 🐉

A multidisciplinary conference on medievalism in the post-Middle Ages. MAMO 3 will take place at the University of Manchester between 28 June and 1 July, 2017.

SATURDAY 1 JULY

MAIN LECTURE THEATRE, SAMUEL ALEXANDER BUILDING, THE UNIVERSITY OF MANCHESTER, Lime Grove, Manchester M13 9PP 🐝

10:00-11.30am Panel session 10  

A. Neomedieval Fictioning before and after Contemporary Art 

(Org. The Confraternity of Neoflagellants; mod. Neil Mulholland)

Plastique Fantastique, ‘Mumming in the Post-Truth Era’

The Confraternity of Neoflagellants, ‘Trial by Future Dead’

David Steans, ‘Saint Good Works’

Panel Synopsis:

This panel consists of commissioned art works that take the form of three little neomedieval theory-fictions (c.20mins each).

In its attempt to disrupt postmedieval anthropocentrism, art is currently gripped by intense speculation on all things nonmodern. This often takes the form of nonmodern world-building, the practice of constructing theory-fictions. Fictioning as a world-building technology combines with mythopoesis: how previous modes of existence might be utilised against the impasses of the present. By using the term ‘fiction’ as a verb we refer to the writing, imaging, performance or other material embodiment of alternate worlds.

Broadly speaking, while the pre-modern bestiary has long formed the sine qua non of small scale curating, the pre-modern university – a hybrid, transtemporal fictioning of social relationships, tools and things – is fictioned as the true modus operandi of today’s artists. The medieval Wandergesellen is fictioned as a permanent supranational state, one in which artisans, scholars, cultural pilgrims, artefacts and many other things drift endlessly betwixt compagon and biennale.

In these brief examples, cultural production is periodically fictioned after contemporary art. The timeframe of artistic practice has shifted from the finite ‘just-now’, bound by human finitude, to a ‘long-now’ that outlives and eludes us, in which the people of the middle ages are our exact contemporaries. Fictioning today, thus, is both before and after contemporary art.

Presentations:

Trial by Future Dead

The Confraternity of Neoflagellants

Following their book-length neomedieval theory fiction thN Lng folk 2go (a preview of which was presented at MAMO 2013) the Confraternity have continued their project of non-modern ‘world building’ through a series of speculative hagiographies, avatar bestiaries, mall-rat pilgrim confessions, technocratic relic translations, liturgical corporate strategizing and scholastic summae of conflict management.

In attunement with neo-animist configurations of the non-human turn, this fictioning will precis two parts of the trial of a rooster-redeemed $50 Amazon Gift Voucher. The cock-a-rooster will undergo Trial by Compurgation and Trial by Ordeal:

“Great Moderator: Nevertheless, The Great Moderator asks this of its Defence Council: If we were to forcefully decouple said Voucher organ from said Polyresinal Rooster organ, do you propose that the Cock is culpable but the Coupon not?  How is The Swarm to discern and apportion the faulty or culpable portions of this thing without recourse to the butcher’s arts of cutting out the back bits to imprison in a humble pie?”

Similar to a medieval body-part relic, the Polyresinal Rooster organ-redeemedvoucher is part corporeal, part transaction and part commodity. As a person-object, subject to continuous translation, the Amazon $50 Redeemed Gift Rooster, inhabits and embodies a cosmology in which aesthetics is not limited to the sensual relations between human self and world, but, instead, describes a synaesthetic hyper-economy through which all ‘selves’ inscribed or enfleshed, animal, vegetable or mineral, represent, translate and co-construct common-oddities that probe the otherwise separate realities they inhabit. Will the Amazon $50 Redeemed Gift Rooster be proven innocent or guilty? Let the swarm decree….

The presentation will be performed in the Confraternity’s own ludic sub lingua franca comprising post-literate netspeak, emojinal gylphs, product spin, inter-species pidgin, object noise-chatter,  and middle American mall talk. Dialogue includes Electronic Voice Phenomena recordings of the medieval dead.

Green Screen Mumming in the Modern Age

Plastique Fantastique & Orphan Drift

Members of the group producing the performance fiction Plastique Fantastique will present a new collaboration with the artist group Orphan Drift. This collaboration involves  and a common interest in mumming and animism. Plastique Fantastique have used mumming – the tradition of presenting masked plays – as mode for delivering communiqués from the extreme past and future in a number of performance works, most recently in the flag-ship Apple shop in London. The talk will present the group’s films and discuss their interest in animism and human and non-human agents explored in relation to mass-media. They will also talk about the concept of myth-science and performance in relation to what has been referred to as the post-truth or past-fact era.

Saint Good Works

David Steans

Saint Good Works is a short fable that manifests in the form of a talking pebble: “When SGW reached the age of one hundred, he conclude d that his life was coming to an end, and that he was no longer able to usefully serve God on this earth. After attending to what little worldly affairs he had, he walked into the mountains, with neither provisions nor intent of return. After a day of walking he sought rest within a cave. Grown thin and weary, he sat down in the cave and contemplated his death. In the cave he held a stone, shiny and grey underneath its coat of moss. He contemplated the stone….”  The pebble will narrate its magnificent story.

Presenters’ Biographies and Contact Details:

1. The Confraternity of Neoflagellants (Hogg and Mulholland) are lay peoples dedicated to the ludic, ascetic, aesthetic and athletic treatment and application of neomedievalism in the hypereconomus of contemporary non-modern cultures. They are an equal opportunities confraternity bound by chirograph.

confraternityofneoflagellants.org.uk

@neoflagellants

2. Plastique Fantastique (Burrows and O’Sullivan) is a mythopoetic fiction – an investigation of aesthetics, the sacred, popular culture and politics – produced through comics, performances, text, installations and shrines and assemblages.

www.plastiquefantastique.org

3. Saint Good Works is a talking pebble made by David Steans an artist and curator based in Leeds. Steans co-founded the Medieval Helpdesk at the 2015 Leeds International Medieval Congress www.medievalhelpdesk.co.uk. He teaches fine art at Leeds College of Art and is a practice-based PhD student at The University of Leeds.

www.grinkinginthedraveyard.co.uk

@Dovad_Steans

Confraternity of Neoflagellants | 48th Annual Conference of the International Visual Literacy Association

ivla-logo-colour-500pxhttp://ivla.org/conference2016/about/

More specifically, in attunement with neo-animist configurations of the ‘non-human turn’, this paper evokes a cosmology in which aesthetics is not limited to the sensual relations between human self and world but instead describes a synesthetic hyper-economy through which all selves inscribed or enfleshed, animal, vegetable or mineral, represent, translate and interact across the otherwise separate realities they inhabit. As anthropologist Eduardo Kohn argues, a subject, self or mind does not produce signs but is in fact an emergent product of semiosis, of the way it represents the world and is represented by others in the world. In other words a self is a “loci of enchantment”—the non-anthropological outcome of aesthetic processes. Thinking aesthetics in this way intervenes provocatively with the notion of ‘visual literacy’ since it requires a non-symbolic conception of representation as a “open whole” that cannot be confined within human linguistic frameworks.

The Confraternity pursues their speculative cosmology through their ongoing fascination with the enchanted iconicity of medieval sacramental practices such as body part relic-ing. The ritual elevation, translation and sometimes humiliation of ‘person-objects’ epitomizes the dynamic interrelations between corpus and textus, likeness and presence and confounds the hierarchical segregation of ‘representing subject’ from ‘represented thing’.

The A/V presentation takes the form of an alt-future parable, following the synesthetic adventures of an independent broker of sensual exchange. Part corporeal, part corporate and part commodity, Muller Ltd. is a journeying apprentice, or ‘Junior Solution Aligner’, who is pursuing the ultimate ambassadorial title of ‘Universal Travel Adaptor’ by immersing itself in increasingly ‘alien’ centers of experience. As the parable unfolds Muller Ltd’s ‘powers of feeling’ increase dramatically, but only at the terrifying cost of dissolving its own corporeal branding (its iconic ‘equity’) into the synesthetic matrix. The parable thus takes a speculative look at the precarious integrity of visual literacy as it expands its territory into the non-cognitive or ‘illiterate’ realm of the non-human sensorium.