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The playful, prophetic professor of pomo
I lovehate LA, I declared after a pleasant LA week back in 2001. "If I'm good I'll come back here. If I'm bad I'll come back twice."
During my week in LA I was reading Reyner Banham's 1971 book "Los Angeles: The Architecture of Four Ecologies", which segments the Angelean experience into four ecological models: Surfurbia, Foothills, The Plains of Id, and Autopia. Banham later appeared on the inner sleeve of my "Otto Spooky" album, bearlike and bearded, pedalling his Moulton bike around London's Bedford Square (he only learned to drive when he went to LA).
Banham appeared on the Otto sleeve because designer James Goggin and I both love him. The reason I love him is because he was a remarkably lively-minded and likeable British cultural observer and essayist who was ahead of his time: a playful, prophetic professor of pomo.
Banham was a member of the Independent Group, whose "This is Tomorrow" show at the Whitechapel Gallery is one of the reasons I personally date 1956 as the Year Zero of postmodernism. Pomo, for Banham, was a "second machine age" which inverted the values of the first, putting things like air conditioning, electricity, lighting, tacky low commercial culture, temporariness, transitoriness and open spaces ahead of traditional Modernist objects of attention like buildings and high art.
So, this morning James Goggin emailed me excitedly. Reyner Banham Loves Los Angeles, a 52-minute documentary Banham made for the BBC's One Pair of Eyes slot in 1972, has turned up on Google Video. It's a ravishing treat for lovers of LA, Banham, and pomo.
It's also a period-piece. LA in 1972 is on the sunset cusp the 1960s. Developers are moving in to crush the freedom and boho variety of Venice Beach, and gated communities have sprung up in the wake of the 1965 Watts riots.
Banham sees many things I think of as vices as virtues. The way LA imposes its style -- via Hollywood -- on the rest of the world, for instance, makes him compare the city to the London of Shakespeare. For me it's simple cultural imperialism. For Banham, the car represents freedom. "Enjoy the pollution," the renegade cyclist recommends, "the best of it doesn't last long". Sitting in the car lot of a drive-in burger bar, Banham marvels with Ed Ruscha about the beauty of gas stations, a beauty which, since "Paris, Texas", has become a huge cliche. But Robert Venturi was still fresh in 1972 -- he'd just published "Learning from Las Vegas", and Tom Wolfe had just written his essay about LA's "electrographic architecture".
By the time I spent my week in LA, Banham had been dead for 12 years and all this pomo stuff was old hat. As a British person of a younger generation, I personally located many of the satisfactions and excitements Banham had found in LA in Tokyo, a city I'd just moved to, another sprawling, temporary-baroque, ultra-pomo place near the Pacific. But Tokyo had a public transport system LA hadn't known since it abandoned the street cars, and a density of information and vitality that LA couldn't match. A Moulton bike would be the perfect way to explore it, and there'd be lots to stop and see on the way.
But if we're now in a third machine age, one dominated by an Asia even further West than LA, "Reyner Banham Loves Los Angeles" is still a fascinating cultural document of the pleasures of the second. It's wonderful seeing Banham driving around in his guided "Baeda-Kar", inspecting perspex sculpture, or telling his Californian students that they live in El Dorado, Utopia. Then watching the sun sink into the Pacific, an electrographic billboard advertising LA -- temporarily -- to itself.
During my week in LA I was reading Reyner Banham's 1971 book "Los Angeles: The Architecture of Four Ecologies", which segments the Angelean experience into four ecological models: Surfurbia, Foothills, The Plains of Id, and Autopia. Banham later appeared on the inner sleeve of my "Otto Spooky" album, bearlike and bearded, pedalling his Moulton bike around London's Bedford Square (he only learned to drive when he went to LA).
Banham appeared on the Otto sleeve because designer James Goggin and I both love him. The reason I love him is because he was a remarkably lively-minded and likeable British cultural observer and essayist who was ahead of his time: a playful, prophetic professor of pomo.
Banham was a member of the Independent Group, whose "This is Tomorrow" show at the Whitechapel Gallery is one of the reasons I personally date 1956 as the Year Zero of postmodernism. Pomo, for Banham, was a "second machine age" which inverted the values of the first, putting things like air conditioning, electricity, lighting, tacky low commercial culture, temporariness, transitoriness and open spaces ahead of traditional Modernist objects of attention like buildings and high art.
So, this morning James Goggin emailed me excitedly. Reyner Banham Loves Los Angeles, a 52-minute documentary Banham made for the BBC's One Pair of Eyes slot in 1972, has turned up on Google Video. It's a ravishing treat for lovers of LA, Banham, and pomo.
It's also a period-piece. LA in 1972 is on the sunset cusp the 1960s. Developers are moving in to crush the freedom and boho variety of Venice Beach, and gated communities have sprung up in the wake of the 1965 Watts riots.
Banham sees many things I think of as vices as virtues. The way LA imposes its style -- via Hollywood -- on the rest of the world, for instance, makes him compare the city to the London of Shakespeare. For me it's simple cultural imperialism. For Banham, the car represents freedom. "Enjoy the pollution," the renegade cyclist recommends, "the best of it doesn't last long". Sitting in the car lot of a drive-in burger bar, Banham marvels with Ed Ruscha about the beauty of gas stations, a beauty which, since "Paris, Texas", has become a huge cliche. But Robert Venturi was still fresh in 1972 -- he'd just published "Learning from Las Vegas", and Tom Wolfe had just written his essay about LA's "electrographic architecture".
By the time I spent my week in LA, Banham had been dead for 12 years and all this pomo stuff was old hat. As a British person of a younger generation, I personally located many of the satisfactions and excitements Banham had found in LA in Tokyo, a city I'd just moved to, another sprawling, temporary-baroque, ultra-pomo place near the Pacific. But Tokyo had a public transport system LA hadn't known since it abandoned the street cars, and a density of information and vitality that LA couldn't match. A Moulton bike would be the perfect way to explore it, and there'd be lots to stop and see on the way.
But if we're now in a third machine age, one dominated by an Asia even further West than LA, "Reyner Banham Loves Los Angeles" is still a fascinating cultural document of the pleasures of the second. It's wonderful seeing Banham driving around in his guided "Baeda-Kar", inspecting perspex sculpture, or telling his Californian students that they live in El Dorado, Utopia. Then watching the sun sink into the Pacific, an electrographic billboard advertising LA -- temporarily -- to itself.
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I misread that as 'porno'. It took a while for me to figure out that this wasn't where this piece was going.
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Pomo and porno look the same, but that's okay -- I think they have a lot in common. And it's easy to imagine Banham as the love god / sociology prof in Alex Comfort's The Joy of Sex (http://www.goodbyemag.com/mar00/comfort.html) (published the same year this film was made), or someone in a Tracy Nakayama painting (http://images.google.com/images?svnum=10&um=1&hl=en&safe=off&client=safari&rls=en&q=tracy+nakayama&btnG=Search+Images).
Thought it said porn too
hey momus, I'm a bit loopy at the moment, so forgive me if this is a trite idea, but I think it would be nice if you would do a Q & A Click Opera entry one day. We just get to ask you questions. I've got a few, two on cognitive issues and one about color, also, when's your birthday again? that I haven't been able to work into your daily essays. What do you think?
Re: Thought it said porn too
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Reyner Banham LOVES Los Angeles... no, I mean, really LOVES it, good n hard.
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(Anonymous) 2007-04-18 12:49 pm (UTC)(link)So, there's Japan and South Korea ... I'm not sure what else Asia has going for it right now.
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The rise of Asia is not a scare, but a fact. What it means is a multipolar world, and that's good for all of us. Because unipolar is fascist, and bipolar is just... depressing!
let's see your research
Compete in what way? Are you not aware that many commentators expect China to explode in the next decade, because of its allowance of no-holds-barred stem cell research? That's where everything will happen. Then China, with the heady influx of wealth, will experience a cultural revolution on par with that of the U.S. in the late 60s. China will become enlightened. If they don't blast us off the planet first
Sorry I don't have cites, but neither do you, and I think you are way off
India will grow at a logarithmic pace. I have no idea what will happen with Japan, I expect momus to keep us informed there. My opinions on South Korea are ill-informed
<< It's just a popular myth that they're going to overtake the world, and is used by politicians and economists here to scare our own systems from going off course. You shouldn't actually believe the scare mongering >>
I'm not scared of China taking over the world, I can't wait. I would like to be there while it happens
it will go like this
2. [not sure]
3. Singularity 2045
What's up for grabs is that middle period between China's dominance and when the machines solve all our problems
Re: let's see your research
(Anonymous) 2007-04-19 04:25 am (UTC)(link)http://www.npr.org/templates/story/story.php?storyId=9658200.
Re: let's see your research
The nice thing about China's history is that they're the one major power never to have been interested in empire building.
And the thing to fear is the erosion of central government in China and its supplanting by the much more corrupt local government there. Things like climate change can only be tackled effectively by "draconian" directives from central government -- the government which had the balls, for instance, to tackle population by instituting a one-child policy.
FOOD
(Anonymous) 2007-04-18 07:04 pm (UTC)(link)where's the proper place to post about a previous post!? i'm very much in love with the 3 points supper blog you posted about! it has me thinking about my meals and YOURS! (you should have a post all about really good japanese recipes!) for now i would like to ask you and what is your favorite sake?
and what is your favorite meal? and what is the meal you make the most (maybe out of love or ease?)
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As someone who grew up near Atlantic City's boardwalks, lights, signs, arcades, and amusement piers, I harbor a great affection for the fantasy aspect of vernacular culture. Homemade, mechanized papier mache creatures once seen in mom-and-pop minature golf courses are now all but extinct, and have been replaced by mass-produced, licensed characters which have no particularity about them at all. In this respect, I can't empathize with Ruscha's thinking at all.
That said, I think a mix of the vernacular and the mass-produced (http://lord-whimsy.livejournal.com/141978.html) can yield some wonderfully fun results. (http://lord-whimsy.livejournal.com/143182.html)
We are now left to wonder if there will be a similar program entiled "Nick Currie loves Tokyo". Or is that Click Opera's raison d'etre?
Gracias
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I've never read anything by him. I take it his books are good?