Amid St. Paddy’s Day revelers, and incognito, inbred-moron, chronically shorn, marching white supremacists, our roving cultural reporter, writer Geoff Moore, took in a special event which is a part of the 2011 High Performance Rodeo Arts Festival at Calgary’s Glenbow Museum; Brian Eno’s 77 Million Paintings, a multimedia art installation of moving images and ambient music from a guy who made that sort of thing cool before most of us even thought to consider the idea …
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The day ended long after sunset in a pub on the north side of the Bow River, muttering about amateurs, yellow school busloads of young people staggering about beneath the green plastic leprechaun puke buckets pulled down over their foreheads. Difficult to text somebody whilst heaving in the alley and the alphabet has suddenly expanded to 52 letters. Erin go bragh!
And it began downtown around lunchtime, avoiding marching, chanting bags of puke as Calgary’s tiny cadre of neo-Nazis took to the streets to promote white supremacy although, ironically, the twenty or so disaffected skinheads took pains to conceal their faces with kerchiefs, actions which bespoke the exact opposite of any sort of pride in a particularly odious credo. It would be embarrassing, indeed, if your family and co-workers learned you were such a vile little cretin.
Between the pea soup tinges of unseasoned drinkers and the black garb of our local Nazis there was the tranquil spectrum of “visual music*,” Brian Eno’s 77 Million Paintings installation mounted at the Glenbow Museum as part of the High Performance Rodeo 2011 arts festival. Eno, whose surname is a gift to crossword constructors everywhere, is a postmodern renaissance man: composer, producer, musician, artist, avant-garde pioneer. He is the Nicholas Negroponte (Being Digital) of rock, someone who intuitively grasped technology and all its implications and potential while the rest of us were still trying to figure out how to hook up the cables. Read more
The Delete Bin 