The stars were in alignment in April-May 2015 when Emily Markides initiated”Rebirthing Cyprus” with a roundtable discussion on permaculture in a private garden in Episkopi.
Author’s note: This blog post, forecasting the high speed crash of the James Franco phenomenon, was submitted originally submitted to Huffington Post Arts on November 23, 2014 with the title “James Franco’s Unstoppable Sperm” and rejected. It appears in a different form here, focusing on the Carter/Franco experiment.
Carter (right) with Jacob Neiiendams, director of the Copenhagen Film Festival 2012 (CPH PIX, is at the forefront of a new wave of artists expressing the Third as a marriage of the 20th century war of opposites: figuration vs. abstraction (Photo by LPS).
I learned from Carter that the James Franco phenomenon arose out of an ingenious quantum experiment: James played his future self as soap opera star playing his future self as performance artist. It was Carter’s idea for Franco to actually himself as the artist Franco on <em>General Hospital</em>. The final taping of the show in the Los Angeles Museum of Contemporary Art effectively erased the physical boundaries between the high and low. Yet there was something far more profound happening than this binary dialectic; it was a quantuam leap catalyzed by Franco’s AHA moment in which the boundaries between actor and directer were dissolved in Erased James Franco through the use of hidden microphones. The exchange of identity on and off camera was the quantum leap from undertainty to entanglement. The result was the Franco-stein multimedia boundary smasher.
Carter, the multimedia artist, directed James Franco to assess his role as Franco the Multimedia Artist on television. The triple medium enactment of performance artist within a television program within a film set was the Dreieingkeit of a multi-layered narrative structure within triangular relationship narrative. The binary of the high/low (soap opera vs. “art film”) was a tame enough dialectic for a market-focused art world invite the final episode taping inside the museum. The domain of the artist known as Franco was getting familar to the movie star known as James Franco. Only a quantum leap separated them, and this was made possible by Kairos, the AHA moment resulting from the earlier entanglement. Yet, what confounded film critics, who are not accustomed to plunging into new dimensions in art, was the transcendence of the binary into the tertiary through the visual entanglement of particles and waves in the large Franco paintings serving as backdrops for the Maladies set.
America’s most ubiquitous superstar, whose most enduring role is a perpetual adolescent playing the social network against the corporate entertaintment power structure, has become an unstoppable masturbating sperm-generating machine.
The deflation of the erection of his McCarthy inspiration had to happen in France, where there is a memory of art before it became an American adolescent sex joke. Paul McCarthy’s work was destroyed by the fundamentalist French catholic group, Le Printemps Français (The French Spring).
Across the Atlantic, critics cry out for a halt but the 24/7 Franco show has become like a train wreck; he will keep going until he crashes right into his 7.1 million Facebook followers.
The descent was forecasted in his metarole as himself, the Dumuzi narcissist sent into the underworld in This is the End. It continued on April Fool’s Day 2014. It certainly seemed like a joke that America’s adolescent was caught red-handed soliciting an underage Scottish girl for sex (in the Templar tradition) through an Instagram ruse. Might the slimy bedroom underwear Selfie seductions have been a contrition to devoted fans? And yet the mocking of the grail quest for the “sacred marriage” archetype with his “queen” Seth Rogan has proved to be only a prelude to the couple full frontal nudal romp across the social network.
To understand the origin of the Franco phenomenon and its thundering smashup….
James Dean was the lightening in a bottle heralding the Age of Aquarius when his flimsy aluminum “Little Bastard” container crashed into an improbable Signifier: Donald Turnupseed.
…we have to revisit his breakout role–James Dean.
By rights of an uncanny ability to mimic, Franco inherited the aborted Dean seed and replanted it at the turn of the millennium (2001) with James Franco as James Dean.
Inserting himself into the shoes of the America’s rebel at the turn of the millennium, Franco had the intelligence to understand he was making fate into destiny. There was a mission regarding the turned-up-seed. But what was it?
The unfiltered Id of James Franco thumbing his nose at the art market produced the after-postmodern tension–the reveling in the opposites that put Dean in an early grave –that made Franco a highly visible candidate for a neo-modernist transition. His precarious balance between film stardom, and all its accolades, and the inner urge to make his private expression public; this left his public hanging on the edge with him. When would the see-saw collapse?
Yet, it continued in his 2010 path of exploding the boundaries between mediums with a blow torch while single-handedly producing the fame shadow in the New York Art world…
… hanging out with the likes of the performance artist turned celebrity Marina Abramovic.
Even as Franco returned his focus to film in 2011, there was magic in resurrecting Jams Dean through the horrendous <em>Sal</em>, which set the stage for the culmination of 2012.
The James Franco Project, as I called it, seemed to have a meaning beyond the exposure of the fame shadow in the art world that was the source of its very ubiquity. There was also the capacity to provide an unfiltered blueprint for the emergence of a modernist icon.
And yet, in October 2014, the James Franco Project has become nothing but a reflection of America’s demise, the collective inability to face the tremendous challenges facing the black mass settling over the culture. The continued repression of the dark feminine (the former pioneering terrain of Marina Abramovic) has only served to extend the reign of the masturbating boys club of Franco, Rogen, McCarthy and Koons long beyond its sell-by date.
In his bid to remain on stage and feed the beast of his 7.1 million FB followers as the ubiquitous figure of the after-postmodern, Franco has lost the magic of the “third entity” that got him there in the first place. He has fallen off the balance beam (the Signifier as buried treasure in his “Gay Town” fun house), the binary no longer expressed through an internal challenge of balance but externally through his all-consuming media presence: lowbrow humor vs. serious art, Faulkner vs. Seth Rogan.
After reaching the height of the after-postmodernism wave, where his brief appearance as Hefner saying “sometimes life is stranger than fiction” just about summed up his own phenomenon..Franco didn’t have to have a fundamentalist group deflate his erection.
He did it all by himself through an admission and a gesture:
1. His recent experiment in deconstructing iconic films is clearly a postmodern exercise completely devoid of any other meaning than falling backwards because the consciousness was lacking to become truly rooted in a new modernism.
2. His open admission that he is making humorous works to purchase likeability (Likes) among his 7.1 million followers so he can make his serious films.
After tracking the Third in art for over a decade, I began to confront the James Franco phenomenon at film festivals. At the Berlinale in 2012, I confronted the possibility of Franco entering the “third entity” via his three-year collaboration with the multimedia artist Carter, whom I met at a press conference for their film Maladies.
<em>The geometry of the relationships in the film (Catherine Keener as the genius artist friend Fallon Goodman the loony sister) catalyzed the conversion of Franco-stein into human tragedy.
The film performed the double task of both creating and revealing the James Franco phenomenon within the context of the movie star’s shadow–wanting to make art as an abstract idea but not able to depart from the limelight to nurture the seeds of an actual work of art. Maladies had a shaving cream metaphor for the uncontrolled ejaculation of sperm unfertilized in the 2.0 social network: the ones with the female egg present such as <em>Palo Alto</em> were successful than others, such as the abysmal Sal. Franco seemed to be struggling to move faster than light so he would leave no shadow, therefore his efforts requiring no insight for personal or collective evolution.
<em>Maladies</em> provided the fertile ground for the sacred marriage of opposites with an understanding of the persperation factor of genius built right into the narrative. James Franco found his equal in Catherine Keener’s genius gender-bending sculptress with Alan Cummings, M.C. of Cabaret, ramming the Aquarian archetype home from Weimar Berlin.
Yet, Franco seemed to want to abort the very project that transparently revealed his internal struggles to create something original that resulted in a telling scene of ejaculating shaving crème over his face; he didn’t show up for the red carpet premiere or for the press conference….
…but managed to show up for the press conference for “Lovelace” to answer a single question about his brief impersonation of Hugh Hefner.
And what about the Franco sperm?
Bonaparte is a neo-modernist collaborative birthed in the Berlin gender-bending tradition of the marriage of opposites…
The Turn-up-seed that crashed. James Dean. Has now crashed. James Franco.
THE ROGER SMITH HOTEL PRESENTS
THE LAST OF A SERIES OF 23 JANUARY ACTIONS
The Alchemy of Love V: Hieros Gamos
January 23, 2008
Video Mural: Tatyana Stepanova & Michael Manning
Action Painters: Lisa Paul Streitfeld & Tatyana Stepanova
Musician: Lutz Rath
Wearable Art: The Kundalini Spiral Collection of Selma Karaca
Eleven years after the initiation of the cosmology by the hexagram among planets in the sky, there is a full moon on the historic date. A performance timed for sunset is intended to honor the cosmology by making it visible and thereby propel the Hieros Gamos into the collective consciousness,I collaborate with Tatyana Stepanova in an action painting integrating words and image into a symbolic language to violoncello music by Lutz Rath to celebrate the initiation of the Aquarian cycle of Eclipses.
The performance began at sunset, 5:30 PM, EST when I paint the Mayan World Tree symbolizing the Gallactic Center (symbol of ending/beginning of time) and the text of Pauli’s dream on the wall opposing the gallery entrance. Stepanova brought in the Sun and Moon converging with the Earth into an eclipse and the luminaries will interact with the central sculpture, the mirrored Psyche, and the projections of interweaving Stepanova’s allegorical painting with that of Michael Manning.
Happy New World Beginning 2012!!
In the days before the Winter Solstice 2011, I was fasting in a hut in the Laos jungle, and on the day of the Winter Solstice, a beautiful woman came and led me to a feast celebrating the birth of a child in the village, revealing how in touch Laos is with the annual cosmic cycle of death and rebirth!
A year later, it is clear that time I spent at the Vanvisa Waterfall, which I renamed Aquaria after my rebirth experience in the village.
This year, I had the darkest Winter Solstice of my life, as I have been in Berlin, with diminishing light due to its location so far north on the European continent.
- The view from my window in Berlin — Kunsthaus Tacheles. Originating
- as a department store, it became a Nazi torture center, and after the Wall fell,
- it transformed into an arts center. It was closed in September 2012, a month
- before I moved across the street, leaving it as a silent profound relic of the
- power of creative transformation for the New Berlin.
I have spent the past week on a semi-fast, channeling energy day and night, sending healing vibrations to Newton, a town I used to visit prior to meditation circles celebrating the Moon cycles in Danbury. From what I gathered from press reports, it seems that tragedy was the result of the repressed feminine energy blocking a conscious understanding of the cycles of life death and rebirth.
Aquarian Jose Arguelles was the visionary who foresaw the 2012 apocalypse as an opportunity for a massive change in orientation by way of the universal adoption of a Thirteen Moon Calendar, where the polar opposites of masculine and feminine would finally come into balance.
By 1993 we knew we had to get serious with promoting the Thirteen Moon Calendar, and so we gave birth to the World Thirteen Moon Calendar Change Peace Movement. We saw the calendar change as the perfect opportunity to declare world peace, call for a universal cease fire, begin a disarmament process and also call for a work stoppage so as a species we could begin to shift priorities. My optimism comes from the fact that in less than a decade the use of the Thirteen Moon Calendar has spread to some 54 countries and the Day Out of Time has become very widespread as a Planetary Festival of Peace and Culture. The previous calendar change movement was a top-down thing. We knew that our efforts had to be a people’s revolution. Bob Marley sings, “It takes a revolution to make a solution,” and that’s so true. If enough people from many different countries and cultures are already following this calendar, then when we got to the point of notifying the world leadership it will be backed up by the people. Not that we haven’t already presented this to the U.N., the Vatican, and many other top leaders. But that has been a matter of course. If we hadn’t done that we wouldn’t be doing our jobs. Of course the Vatican chose to conceal our information and ultimately ignore it. Kofi Annan, however, did give us a positive letter of support. But of course, no one wants to take personal responsibility. So we say, that’s OK, show us a better, more comprehensive solution. We are ready anyway, and everyone who knows that this is real and true is getting ready to say goodbye to the Gregorian calendar and its self-fulfilling apocalypse in 2004 and walk right into a time of peace and harmony. If the rest of the world wants to join, it is an open invitation. Leave the old time and enter the new time. It is the only sure way to rise above the numbed-out nihilism of the decade without a name. Besides, the Mayan prophecy says that 2012 is the end of the cycle, and if we want to get there in one piece, we have to shift gears now. Believe it or not, to paraphrase Crosby, Stills, Nash and Young, I know we will “get back to the garden.”
— Jose Arguelles interviewed by Michael Moynihan for New Dawn magazine, 2002
This is due to the emergence of the magnetic Aquarian Age Goddess…who is EMBODIED under the yod configuration ruling the Winter Solstice 2012, and emerges under the Spring Equinox 2013.
However, the lasting effect of the world’s focus on December 21, 2012 and the focus on the Mayan mythology surrounding the Great Year beginning at the Sun’s alignment with the Galactic Center, a new understanding and appreciation for the cycles of life/death/rebirth. This is the basis of the paradigm shift from mechanistic linear thinking.
From now on, your life is what you make of it!
The New Beginning is reflected in this astrology chart for the Winter Solstice 2012 in Berlin, where I have been doing my final preparations for a New Beginning reflected in the chart below…
…which culminates with the Aries line-up for the Spring Equinox! It happens at dawn in New York City, where the Sun is ascending on the eastern horizon to join the Mars/Uranus conjunction reinforcing the power of personal initiative to make changes that will impact the world. The mystical power of the Yod configuration, which is like a cosmic tuning fork (shown in the green triangles in the charts), is balanced by the physical embodiment commanded by the Saturn and Pluto mutual reception. This means the change will be deep, at the structural (Saturn) collective body and soul (Pluto) level, and the Moon in Cancer opposing Pluto in its natal house means the feminine energy will take form in the culture!
This is going to be a wild three months!!
The cosmological configuration points to a massive change in the human vibration, providing access to a multidimensional reality, which means the quantum leap is finally happening in the mass consciousness.
The change is taking place on the cellular level, within the human DNA and our task is to make space for Her arrival…
- The transparent crystalline blue water of the Vanvisa Waterfall a natural home for…
AQUARIA, GODDESS OF A NEW ERA OF UNIVERSAL LOVE, EQUALITY & FREEDOM!!!
I met Anna Vittoria when I was working on my Hidden Treasures article for the Los Angeles Times. She was the exquisite creature that became a guide — not only to the feminine spirit in Topanga but what is latent in her 20 something generation. I put her in the story with her quote: “Topanga is about having your own style.” And so, this retro 60’s locale became my inspiration for astro fashion style. She invited me to an aromatherapy workshop at the Oasis Healing Center where she works. I went there and to the next workshop in a garden in Venice.
Azita asked me if I wanted to do a Taurus New Moon ceremony at Tara Sanctuary
I asked Anna and two other Topanga healers — Luna Love and Lee B. Lewis — to join me in creating a holistic healing ceremony to bring in the new feminine archetype. The ceremony was extensively structured in accordance with the awakening of the serpent. A goddess, scent, sound and color was created to awaken all seven chakras, from the root to the crown of the head. We did not plan our ceremonial attire, but we all showed up for the ceremony wearing rose!
The sixties may be back in fashion…
But for Topanga they never left!
Hippies still walk around barefoot and you can hear the Beatles in the air.
Pisces is for shoes! Before the Spring Equinox, I spotted a pair of white Go-Go Boots at the House of Treasures and thought I would come back to try them on in my Eventing Star dress, the first of our Vanlisa clothing line.
But when I returned, they were gone!
I found instead a pair of white Vera Wang heels that made a lovely fit. All the more because they were so unexpected!