squib-box / Proposals for Self Sabotage
…musician, audience attacker, self-defiler…
Inevitably, at a glum, brightly visible || we all rub hard up against our own brittle and boring limitations. Handleless technical, conceptual, French aesthetic doors jammed precipice tight in your mum’s old house. Sidestepping the weight of that teenage taste is a difficult mistake, education is probably only a doubling-down into naff trench depths.
This proposition then, is that self-sabotage might be an under-appreciated, under-valued, long-practised tool against our solipsistic, limit-laden, art-making. These examples highlight practices that thrive in their own inability to function in their own “best” interests, and as a result reach some new, radical level of kind-of expression.
Fastball Special ⬆
Comic-book-tag-team-self-destruction-manoeuvre as model for effective collaboration.
Thai version of the international gameshow franchise.
Mainstream deployment of extended vocal techniques in commercial pop.
Killer Karaoke ⬇
“The lizard are trying to get out so are everything else if I was in there I would try and get all the animals out of there.”
“Killer Karaoke has just launched two new challenges for contestants. “Sleeping Beauty” requires contests to lie on a royal bed of snakes and lizards, while “Pandora” forces the contestant to sit on a throne while reptiles are released in his or her face.
Compelling television. Thanks USA!”
Hanatarash
The legendary Japanese noise band headed up by Yamatanka Eye. Live shows featured venues being destroyed by Eye operating a backhoe, and attempts to light molotov cocktails on stage. The band were eventually banned from performing live.
The Story of Japan’s Most Dangerous Band
GG Allin ⬆
Born Jesus Christ Allin
(1956-1993).
Musician, audience attacker, self-defiler, Jerry Springer subject, icon for some.
“The audience is there for me.”
[sweet-ERROR:miku]
A humble offering from the author’s vault. A show about ‘digital disability’, built on ģ̷̨̢̧̨̨̡̨̨̧̢̧̧̨̢̨̧̨̡̢̧̛̛̛̛̖̼̹̗̻̗̲̫͉̘̤̫̺̲̖̹͇̫̰͚̭͓̭̻̙̼̝̦̤̱͉̯̭̯̟̰͓̤̟̳̞͙̜̬̗̖͈̖̗͉͍̹͕͙͚̱̗̭͈͙̰͓̮͈̦̲̯͚͎̹͚͕̩̟͚̭̭̘̠̯̦̤̣̖͙͔̥̖̤̥̰̬̙̼̙̲̭̠̦͙͖͍̩͎̖͈̰̟͇̖͕̩͓͈̘̠̟͚̯̭̞̮̹̜̳͈̦̰̜̥̣̳͕̫̬̫̞͕̤̥̦̺̗̠̼̣͔̺̼̱͙̦͉̥̥̟͈͓̗͍̭̯̯̳͖̱̟̦̤̻̫̱̭̞̳̖̠̼̪̦͇̳̲̘̭̰̘̹͉̭͉̪͍̰̹̣͈̺͖̰͔͈̖̘̩͍̦͎̪̯̱͔̜̜͓̯̼̲̥̼̲̠̼̦̲͎̫̪̪̆̂͊̿̏̍͛̽͗̊̉́́̽͐̈́́̈̑̽̍́̌̓̑̐̋̌̐͑̎̔̽͗̒̊̿̿̈͗̉͊̈͂͐̃͋̑͌̇̍̈́͂͆͒́̄͛͛͋̈́̋̃̄̓̄̅̌̽́̀̂̐̽͋̈̍̉͐͒͆̀̊̉̉͐̉͒̓̓̒͆̍̇͂̎̋̿̿͒̊̀̀̎̄̄̄͐̌̀̍̉͒̈́̊́̆̆̊́̋͗̔̊̐͆̓̿̐̈̏̎̆̍̎̀͐͋͋͗͒͊̈̿̏̈́͂̓̿͐͆̏̒̄͋͊̀͒̊̒̆͘͘͘̕̕̕͘̕̕̕̕͘̕͜͜͜͜͜͜͜͜͜͝͝͠͝͠͝͝͠͝͝͠͝͠͠͝͠͝ͅͅͅͅͅͅl̵̢̧̧̧̡̧̛̛̛̛̛͍̪̦̼͙̱̤̠̫̱͎̙̫̳͖̱̫͍̪̯͍̮͉̮͙͕̤̥̮̫̹̭̟̀͆̂͗̋̉͗̄̾͒̓̀͛̓͋̿́̒̊̈́̅͐̒́̓͆͊̅͒̓̌̋̔̾̾̉͗̄̀͗̄͊̅͆̓͑͑̾̉͊͌́̉͊̔̍̈́̑̀̑̊̊̓̃̾͊͊͋̈́͐̔͐̇͒̋̓̀͛̂̈̿̔̏̂̂͛̂̈́͛̽̆͆̏̓̽̿̍̅̋̒̇̑͗̄̒̈́͆́̒̈́̎͗͋͌͌̊̀̇͂̑͗̈́͗̀͂̆̓̓̈̍͑̅̇͐͒͒̈̐̀͂̈̈́̀͋͐̿͛͛̋͐̀̉̆̒̎̅͑̊̇̉̆̄́̔̾̆̒̎̆̇̓͊̿͛̏̃̀́̏̂͆̍̕͘̕̕̚̕̕̕̚͘̚͝͝͝͝͝͝͠͝͝͝͝͠͝͝͝ͅi̵̧̧̢̨̡̧̧̨̢̡̧̨̛̛̛̦͕̗̩͔̰̼̺̠̙̭͙̝̩̗̫̗̯̻̳̭̹̖͎̲͙͖̟̻̟̜̼̫̲͖͔̙͙̫̺̠̜̝͙̳̖͚̙̯͚͚̟͓̖̩̬̟͕̫̬̜̞̗̥͉̭̱͇͒͑̿͐́͊̈́̍̃̉̏̿̇̋̈́̃̾̑͂́̈́̍͌͐̊̽̓̈́̿̎̓̓̀̆̈́̇̉͑̾̾͑̄̊̓͑̐̄͑̓̒̑̇̉̽̒̃̐͗̅͌̌́͛͂̌̾́͐̅̓͛̓͆͐̅͊͑͂͛͊͋̽̅̽̑̀͐͒̓̋͊̀̅̆̀̌̊͒͋͐̈͆͑͛̎̈́̏̑̀͛̈̃̍͒̓̃̐̔͊́̾̆̓͂̉̅͊̌̒̆̌͛̎̇̇̍̇͑̍̃̒̀̌̏̇͆̈́̇́̎̋͌́͐͛́̈̒̑̓̿̎́̂͂̓͐̚͘͘̚̕̚͘̚͘͘̚̚̚̕̕͘̚̕͜͜͝͝͝͝͝͝͝͠͝͠ͅͅt̵̡̧̨̡̡̡̧̢̨̧̧̨̡̛̛̛͖̹̞̯̜͉͇̣͓̖̮͖̤͈̣̲̣̭̤͍̼͎̦͍͕̼̪̺̮̹̯̫̻͕̗̬̲͉̫̠͙̳͓̹͓̪̫͔͚̲͙̠̣̯̪̲̼̬͖̹̙̱̬̤͙̖̯͕̤͎̠̟̰̠͚̤̯̱̝̟͕͉̲̖̦̣͆͌̐̾͑̌̍͑͊͛̏͒̊̍̀̐̈́̊͊͆͂̏͑̿͑̈͋̈́͂͛́͌͋͋̋̿͑͋͊̃̈́͋̃̈͒̃̅̉̈́̓̂͆͑͛͆̒̓̆̏̽̐͊̒̂̈́͆̒͒̋̐̇̇̂͑̌̆̀̈́̎̆͒̄͊̈́̂̄͌̋̈́̀̽̓̀̂̆́͆̆̑̇̆̓̐̐̀̂̆̈́̍̐̇͂̓̑̌̏͂̂̃̄̅͛̅̇͊̈͛͋̀̃͌̽͌̋͌͑̇͐̽̓͂̐̉̓̓͘͘̚̕͘̕͘̚͜͜͜͝͝͝͠͝͝͝͠͠ͅͅͅç̵̭̼̟̪͖͕͇̼̠͚̝̠̱̪̥̽̅͒̓̊̆̒̆̑̓̏̄̀̈́͌͗̍̒̄͐̒́̀͌̏̇̍̚͘̚̕͘͜͝͝ͅḧ̶̨̨̨̧̢̨̨̢̡̨̨̢̢̨̡̧̨̢̡̧̧̨̛̛̛̛̛̛̛̛̛̛̛̛̯͍̫͓̠̜̬̙̫̣̘͈̠̳̪̱̫̹̟̩̙̩͖̫̝̰̱̱̪͍͚̻̠̫͇̦͕̣͚͓̖̪̙͓̩̙͙̫͈̭̬̘̙̲̖͎̱̖͓̰̱̥̜͇͈͖̣̤͈̳̭̺̥̯̯̯̻̞̲̻̣̬͇͓̻̭̣̖̪̻̟̹̞̞̞͙͇̲̥̜̣̜̯͍̯̭̳̞͍̬̙̼͖̜͚̥̭͔͙̱̩̳̭̺̲̼̜̘̖̟͈̝̱̻͚̦̥̣͔͚͉̥̠̹̩̹̲̬̞̺̘̫̲̙̟͍̰͈͈̩̦̼̰̞̩̙̜͚̖͖̖̠̣̺̞͔͎̫̝̞̭̘̟̟̺̖̗̹̮́̓́̓̽̔̏̌̂̓̈́̿̂͑͐̌̅̾̀̈́͌͆̍̄́́̓́̀͑̾̌̄͆̎̐̑́͑͂̇́̇̏̔̓̏̓͂̒͊̍͌͛̀̈́̃̐͑̽̓̆̓̈́̋̍͒̀̒̽̀̋̐̾̔̾̌́̈̈́̐̓̓̃͊͂̂́̈̎̀̒̒̂̎͆́̅̀͆̿̎̊͗̌̾̽͗̓͛̔́͗͋̈́̑̊͒̆͗̎͑̽̾̓̀͐̀̄̉̈́̾͊̔̅̀̃̔̀̈́̃̈́͊̂́͂̈́̈́̉͋͊̒́̂̑̊̈́̀̏͗͒̈́̉̓̇͒́̏̍̾̒̓͋̎̎͋͋̃̀̊̍̊̏̈́̉̅̊̈́̅̆͂̏̓̅̄̋͊̎͊̄͛́͂̓̍̄̋̀̂̎͂̈́̀̿̒̎̓͗͆̀͒͗̿̔͂͆͋͘͘͘̕̚̚̚̚̚̚̚̕͜͜͜͜͠͝͝͠͝͠͝͝ͅͅͅͅͅͅͅ, error, and questionable aesthetic tastes.
Nobuhiko Obayashi
Japanese film director (1930-2020)
“…when he went to Toho Studios to make his first feature, “House,” a sci-fi/horror about a house that devours its inhabitants (an idea he got from his daughter), senior director Hideo Onchi met him at the entrance and, as Obayashi told me in a 2016 interview, said, “Obayashi-san, please wreck our studio just this once.”
Mark Schilling - Japan Times
