Difference between revisions of "The Bohemian Institut of Prague"
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| − | A letter to '''Gottfried Hattinger''' | + | ''''''<big>THE BOHEMIAN INSTITUT project 1990 - 1992</big> |
| + | |||
| + | "'''The Bohemian Institute in Prague''' is envisioned as a cross cultural nexus whose time has come. The Institute will be designed as a think tank/gallery/cafe that will stake out the rutting edge in eco-global and psychedelic ideas and technology. Day to day management would reside with a rotating International staff operating out of a beautiful Baroque building in central Prague or possibly Marienbad. | ||
| + | |||
| + | The first formative step would be to establish a site that is a flexible dynamic presence in the Prague scene. This should be a multi-purpose facility able to function as art gallery, club, hostel, publisher, software and video production facility, thinktank and attached private apartments for use by the rotating managers and staff. The on site manager will be key to the initial start up effort. What is needed is a manager who is willing to devote himself full time to operating the site for a minimum of six months on an experimental basis. This window of opportunity is roughly from June until December of 1992. Timing is important. | ||
| + | |||
| + | The Institute's first project will be a film to be shot in Prague during the '''International Transpersonal Association conference''' to be held there 1n mid-June of this year. Funding for this project has already been secured. If we are able to create a compelling and beautiful film about the transformation of modern ideas in the ambience of a Prague Spring we shall have a strong argument in the quest for financial angels willing to seriously support a long term effort. | ||
| + | |||
| + | Money is the key. What is needed is start up funding in the range of thirty to forty thousand dollars. This money would be used to raise other money and would be spent over the initial six to eight months to establish the site, provide modest support for the manager, and to launch and promote projects which would sustain the Institute beyond the Initial eight months. | ||
| + | |||
| + | Such projects as sponsoring artistic and musical events, holding conferences and producing books, tapes, software and videos are contemplated. | ||
| + | |||
| + | The ultimate notion is to join and contribute to the Prague Renaissance and also to establish a locus for an expatriate critique of American society. By creating a community based on art and ideas Chat are true to the original alchemical spirit of old Bohemia we will make a significant contribution to the impulse toward an Archaic Revival now being feit worldwide. By this process we will make a positive contribution to the changes going on in Eastern Europe and we will be able to participate unhindered In a critique of the high technology, industrial democracies that we will have left behind. A critique that, as we approach the Third Millennium, 1s sure to grow in Intensity." | ||
| + | |||
| + | To contribute or obtain more information write: | ||
| + | |||
| + | '''The Bohemian Institute of Prague''' | ||
| + | |||
| + | '''Post Office Box 858''' | ||
| + | |||
| + | '''Occidental, CA 95465 USA''' | ||
| + | |||
| + | <br> | ||
| + | |||
| + | |||
| + | <big>A letter of Woody to</big> '''Gottfried Hattinger''' | ||
([https://www.vasulka.org/archive/Artists3/McKenna,Terence/general.pdf www.vasulka.org/archive/Artists3/McKenna,Terence/general.pdf]) | ([https://www.vasulka.org/archive/Artists3/McKenna,Terence/general.pdf www.vasulka.org/archive/Artists3/McKenna,Terence/general.pdf]) | ||
| + | |||
| + | [[File:RamDasTerencePrague.jpg|thumb]] | ||
| + | |||
| + | [[ARS ELECTRONICA]] | ||
June 11, 1990 | June 11, 1990 | ||
| Line 9: | Line 38: | ||
After a conversation with Peter Weibel and after reflection on our interests in dialectic with the needs of the world as such, we decided that the best form of our participation would be the circumspection of a single field by a cooperative group comprised of four individuals: | After a conversation with Peter Weibel and after reflection on our interests in dialectic with the needs of the world as such, we decided that the best form of our participation would be the circumspection of a single field by a cooperative group comprised of four individuals: | ||
| − | David Dunn, | + | [[David Dunn]], |
| − | Terence McKenna, | + | [[Terence McKenna]], |
| + | |||
Steina and Woody Vasulka. | Steina and Woody Vasulka. | ||
| − | Our collaboration is supported by the writer/poet, Liz Rymland, whom we hope to include in our enterprise. | + | Our collaboration is supported by the writer/poet, [[Liz Rymland]], whom we hope to include in our enterprise. |
Our inquiry would be mapped in the following way: | Our inquiry would be mapped in the following way: | ||
| − | 1. Accoustic considerations of digital space ( | + | 1. Accoustic considerations of digital space (David Dunn) |
2. Electronic stage and dramatic interaction (Woody Vasulka) | 2. Electronic stage and dramatic interaction (Woody Vasulka) | ||
3. Visible language (Terence McKenna) | 3. Visible language (Terence McKenna) | ||
4. Demonstration by video installation (Steina). | 4. Demonstration by video installation (Steina). | ||
| − | Our central concern is a new definition of space which we call digital space. In our | + | Our central concern is a new definition of space which we call digital space. In our presentations it would break down into perceptual and psychological categories including the principles of acoustic space, pluri-dimensional space, the space-time dialectic between temporal and virtual domains, in a manner formulated and mediated through the concepts suggested in the article titled, Digital Space by Vasulka and Dunn. ([[Peter Weibel]] has a copy.) |
| − | presentations it would break down into perceptual and psychological categories including | ||
| − | the principles of acoustic space, pluri-dimensional space, the space-time dialectic between temporal and virtual domains, in a manner formulated and mediated through the concepts suggested in the article titled, Digital Space by Vasulka and Dunn. (Peter Weibel has a copy.) | ||
| − | You may not be familiar with the philosopher Terence McKenna. His articles follow in packages to you and Peter Weibel . We believe his social and aesthetic formulations are vital to some of the evolutionary objectives of visual language and virtual reality. We will conduct a lecture/workshop involving these issues. The workshop will involve tools, some shipped from here, other tools may be available locally. (Steina's installation has a special listing attached.) | + | You may not be familiar with the philosopher Terence McKenna. His articles follow in packages to you and Peter Weibel. We believe his social and aesthetic formulations are vital to some of the evolutionary objectives of visual language and virtual reality. We will conduct a lecture/workshop involving these issues. The workshop will involve tools, some shipped from here, other tools may be available locally. (Steina's installation has a special listing attached.) |
We expect our team participation would cost about $20,000 (or so) including artist fees, specific software development for this event and other production expenses. We hope the other expenses as travel, transporation and accomodations will be provided by you. At this point we are flexible and able to negotiate alternatives . We are all immersed in our work and convinced of its utmost importance. On the other hand, it is possible you may consider our participation at Linz this year. | We expect our team participation would cost about $20,000 (or so) including artist fees, specific software development for this event and other production expenses. We hope the other expenses as travel, transporation and accomodations will be provided by you. At this point we are flexible and able to negotiate alternatives . We are all immersed in our work and convinced of its utmost importance. On the other hand, it is possible you may consider our participation at Linz this year. | ||
| Line 36: | Line 64: | ||
| − | + | Links: | |
| − | + | '''International Transpersonal Association Conference in Prague''' | |
| − | |||
| − | + | '''Terence McKenna in Prague''' | |
| + | |||
| + | https://psychedelicsalon.com/podcast-306-terence-mckenna-ram-das-in-prague/ | ||
| + | |||
| + | [[Terence McKenna]] | ||
| − | + | [[Ralph Abraham]] | |
| − | + | [[Chris Mann]] | |
| − | + | [[Arnold Dreyblatt]] | |
| − | + | [[Gotfried Hattinger]] | |
| − | + | [[AllChemical Arts Conference, Hawai 1999]] | |
| − | + | [[Main Page|https://wiki.vasulkakitchen.org/Main_Page]] | |
Revision as of 15:27, 16 September 2024
'THE BOHEMIAN INSTITUT project 1990 - 1992
"The Bohemian Institute in Prague is envisioned as a cross cultural nexus whose time has come. The Institute will be designed as a think tank/gallery/cafe that will stake out the rutting edge in eco-global and psychedelic ideas and technology. Day to day management would reside with a rotating International staff operating out of a beautiful Baroque building in central Prague or possibly Marienbad.
The first formative step would be to establish a site that is a flexible dynamic presence in the Prague scene. This should be a multi-purpose facility able to function as art gallery, club, hostel, publisher, software and video production facility, thinktank and attached private apartments for use by the rotating managers and staff. The on site manager will be key to the initial start up effort. What is needed is a manager who is willing to devote himself full time to operating the site for a minimum of six months on an experimental basis. This window of opportunity is roughly from June until December of 1992. Timing is important.
The Institute's first project will be a film to be shot in Prague during the International Transpersonal Association conference to be held there 1n mid-June of this year. Funding for this project has already been secured. If we are able to create a compelling and beautiful film about the transformation of modern ideas in the ambience of a Prague Spring we shall have a strong argument in the quest for financial angels willing to seriously support a long term effort.
Money is the key. What is needed is start up funding in the range of thirty to forty thousand dollars. This money would be used to raise other money and would be spent over the initial six to eight months to establish the site, provide modest support for the manager, and to launch and promote projects which would sustain the Institute beyond the Initial eight months.
Such projects as sponsoring artistic and musical events, holding conferences and producing books, tapes, software and videos are contemplated.
The ultimate notion is to join and contribute to the Prague Renaissance and also to establish a locus for an expatriate critique of American society. By creating a community based on art and ideas Chat are true to the original alchemical spirit of old Bohemia we will make a significant contribution to the impulse toward an Archaic Revival now being feit worldwide. By this process we will make a positive contribution to the changes going on in Eastern Europe and we will be able to participate unhindered In a critique of the high technology, industrial democracies that we will have left behind. A critique that, as we approach the Third Millennium, 1s sure to grow in Intensity."
To contribute or obtain more information write:
The Bohemian Institute of Prague
Post Office Box 858
Occidental, CA 95465 USA
A letter of Woody to Gottfried Hattinger
(www.vasulka.org/archive/Artists3/McKenna,Terence/general.pdf)
June 11, 1990
Dear Gottfried,
After a conversation with Peter Weibel and after reflection on our interests in dialectic with the needs of the world as such, we decided that the best form of our participation would be the circumspection of a single field by a cooperative group comprised of four individuals:
Steina and Woody Vasulka.
Our collaboration is supported by the writer/poet, Liz Rymland, whom we hope to include in our enterprise.
Our inquiry would be mapped in the following way:
1. Accoustic considerations of digital space (David Dunn) 2. Electronic stage and dramatic interaction (Woody Vasulka) 3. Visible language (Terence McKenna) 4. Demonstration by video installation (Steina).
Our central concern is a new definition of space which we call digital space. In our presentations it would break down into perceptual and psychological categories including the principles of acoustic space, pluri-dimensional space, the space-time dialectic between temporal and virtual domains, in a manner formulated and mediated through the concepts suggested in the article titled, Digital Space by Vasulka and Dunn. (Peter Weibel has a copy.)
You may not be familiar with the philosopher Terence McKenna. His articles follow in packages to you and Peter Weibel. We believe his social and aesthetic formulations are vital to some of the evolutionary objectives of visual language and virtual reality. We will conduct a lecture/workshop involving these issues. The workshop will involve tools, some shipped from here, other tools may be available locally. (Steina's installation has a special listing attached.)
We expect our team participation would cost about $20,000 (or so) including artist fees, specific software development for this event and other production expenses. We hope the other expenses as travel, transporation and accomodations will be provided by you. At this point we are flexible and able to negotiate alternatives . We are all immersed in our work and convinced of its utmost importance. On the other hand, it is possible you may consider our participation at Linz this year.
Sincerely,
Woody
Links:
International Transpersonal Association Conference in Prague
Terence McKenna in Prague
https://psychedelicsalon.com/podcast-306-terence-mckenna-ram-das-in-prague/
