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Thursday, April 29, 2010
Letter To Advertise Business
Paranormal Society Bondage workshop May 29, 2010, Lausanne
Saturday, April 24, 2010
Portable Cable Tvtuner
Newsletter May-June 2010
A big thank you to Lionel D, Clara, Erik, and Miss Duckin skeud, Fab, Rub, Maeline, Poulain and Ben. Here is the link to the photo gallery of Fetishbox I: http://www.paranormal-society.org/galeries.html
Paranormaliens, paranormaliennes,
Flamboyants, sharp as ice skates! MAGNIFICENT! Those who wanted dance were not tricked into coming to see the set of Miss Duckin electro dark. In Purgatory, the prosecution always full to the playroom on fire. That quality people;-D, a nice mix of genres. Thanks to you, the first to FETISHBOX far exceeded our expectations.
This done, we still talk this site and this blogspot. It is brand new, it just happened, and we are proud to submit it, hoping it will serve you and help us. There are artists to discover, to spend nights with open eyes, is a world, a world-cons.
The purpose is not to promote nor to become like the mainstream has become the gay community, but simply being there, we live a richer culture than willing to say the shots and we do ask no questions on any public or social legitimacy. Fetish, bod mods, SM players, shibari addicts, Vampyres, it is Rock n Roll, it does demand no permission it takes the right. Thinking, doing, having the air, stretch that out to become an extension of us and not vice versa. no mysteries to hide here, we are not in geek but occultists among experimenters new patterns and lovers of ancient and futuristic aesthetic.
Sincerely Voutré
PARANORMAL SOCIETY
PARANORMAL SOCIETY
Wednesday, April 7, 2010
How Soon Will My Bp Lower On Ramipril
Interview Laurent Courau, Vampyres DVD release April 9, 2010
About VAMPYRES, interview in the magazine's No. 61 ELEGY
Interview Laurent Courau, journailste and director of Vampyres, conducted by Alyz Tale, released in spring 2010 in the sixty-first issue of the magazine Elegy.
Alyz Tale: The last time we discussed with you the subject of Vampyres, was for the release of your book by Flammarion in spring 2006, it's been a while! Why the DVD he put so much time out in France?
Laurent Courau: Just because the movie was not completed in 2006. Some filming took place well after the book came out, as our exploration of the esoteric alongside Venice Marcos Drake or the meeting of Lord Taiki occult shop in Osaka, Japan. He then had to tackle the mounting, stretching over many months.
Unlike a work of fiction built on a scenario beforehand, the narrative thread of a documentary turns up often during the post-production phase. Initially, we do not know what is going to bring back images as starting shooting, especially when on an adventure in territories like the Bronx or English Harlem with Clan Hidden Shadows or the red light district of Amsterdam and the French Quarter of New Orleans. I had Vampyres manage, but also the environment with people who lived there ... the development of a documentary can be very chaotic. So it is only after my return, watching the hundreds of hours of footage in my possession, I have considered how I would tell this story. A process that took time.
And he then had to find a distributor, what happened with Patrice Lamare and Stephanie Heuze the video store Hors-Circuits (http://www.horscircuits.com/) who introduced me Team Chat Qui Fume (http://www.lechatquifume.com/). They have done an outstanding job with this release almost "collector digipack with three components, a 32-page booklet of photographs by Lukas Zpira Vampyres, filled with bonus footage and new interviews, etc..
AZ: So it's been years since you began to investigate the community of Vampyres, and like all communities has been changing a lot, which way would you say it changed since we these images were shot?
LC: When we started shooting in December 2002 the world was much different than it is today. New Yorkers were still reeling from the attacks of September 11, 2001, but it seems to me that the world was more cheerful, more optimistic than it is today. New York was also a city more open at this time. Many places were closed at night in Manhattan, the city has gentrified and rents have increased.
Like every time it happens, the marginal mobilities were forced to retreat to the outside of the city, in this case to less expensive neighborhoods so far from Manhattan, Brooklyn, the Bronx, Queens and New Jersey. What makes the vampyre community is still there still active, but quieter, less visible. This does not mean she is less active, it simply waits for its time. We can expect more changes with the economic crisis that hit very hard New York. Rents will probably fall, the mayor may have other fish to fry than to control the nightlife, which should allow Vampyres and freaks of all kinds to reinvest the city. These phenomena are cyclical.
AZ: Of course one wonders how the Vampyres, particularly those that appear in the film were well able to accommodate the DVD ...
LC: Mixed results with one side of the protagonists of the film as Miguel Valentin, St. Anthony or Ice Pick who proclaim loudly that the film "tells" the truth. And the other, Vampyres (not necessarily in the movie) who scream foul to the revelations contained within their community, its operations and its secret rituals.
tensions are even more palpable around the ritual of blood that we filmed in Hidden Shadows, which comes in the second half of Vampyres. These images have caused a mini scandal and led to heated debates within the community. Same for the presence of the Paris Vampire whose past does not sit well with everyone. But, like it or not, these events and meetings are part of the history of film. It's no longer mine.
AZ: We see in the film as integration with Vampyres communities was not necessarily obvious to you initially, and without any offense, it's true that you have a head "very small white normal "next to them (laughs), how did you finally managed to integrate you well?
LC: The vast majority of the protagonists of the film had never been faced a camera and did not see our presence necessarily a very good eye. Distrust rather understandable when one knows the virulence of American mass media with regard to anything out of the norm. So I had to convince them and win their trust. As always, it is a story of human encounters. I originally received a special relationship with Lukas Zpira Hidden Shadows. Then there was the meeting with Father Sebastiaan who invited me to New York and New Orleans, introduced me to other persons of the community, as Michelle Belanger or Don Henrie.
In terms of my little white head (laughs), I happened to be thankful, as was the case after our first day of shooting in Jamaica, the Queens. We went out to the dusk of a dilapidated shopping center, right in the ghetto. Local gang members were waiting for us, just like in a film: non-standard physical, tattoos, gangster facies gallows, huge 4x4 with tinted windows. They wanted to know what we are trading with our cameras in their neighborhood. And I bet that my head and my little white exotic accent helped us get ourselves out cheaply, with the promise that I would warn before returning the next time. To conclude, I learned the next day in the newspaper that a shootout between gangs and the police had just eight people, specifically in the area where we were.
AZ: We had vaguely mentioned in our previous interview, culture vampyric begins to arrive in Europe and probably even more so since the book came out, do you keep an eye on what is happening here at this level? How does it evolve?
LC: I attended by far the formation of a number of clans inspired New York model. Trade has been established between France and the U.S. east coast. It's obvious the two continents are complementary, with roots and a secular culture on the side of old Europe and a huge reservoir of energy in the United States. The vampire archetype is now ubiquitous in popular culture, through literature, film, television series and video games. Which can only support the development of an open-questioning, with experiences that combine artistic creativity, dark and esoteric martial arts. After no one can predict the coming changes, but I bet it will be amazing, unique and always interesting to follow.
is fascinating because we can see in the film community vampyric New York was born in the ghetto, in neighborhoods far from the image forged by fantasy literature, basically it's a bit cons-as if a vampire culture had emerged in the 93 cities in the Paris suburbs. This aspect does he dig a certain ditch, in any case a gap between the U.S. and the Vampyres emerging European vampire scene?
LC: The shift is evident, but the reactions negative remain limited. Instead, I am delighted with the enthusiasm, curiosity and openness of the French and European scenes. At worst, I happened to talk with a small group of occultists self-proclaimed, close to the dark folk scene, who see a very dim view of the emergence of an American stage and multi-ethnic. Honestly, I'm not interested. As Lord of the Hidden Shadows in Zillah Vampyres, "people are people. There will always be ignorant. "That said, nothing prevents them to go on site to explain their thinking to Vampyres. We wish them well fun.
AZ: Actually I was thinking the opposite: the reaction of Vampyres U.S. before the emergence of a European scene actually quite distant from their own origins ...
LC: The reactions are generally good . Americans are curious about what happens here. Europe represents for them a kind of paradise lost at the edge of cliché postcard with its traditions, its ancient stones, ancient secrets, etc.. The idea that their scene may in turn influence the Europeans a lot flatter.
But you also Vampyres from the ghetto who do not care of what's happening in the world. Maven Lore, a fansgmith New Orleans, told me about the members of the Crips that counted among its clients. I do not think they are very interested in the masonry and the Luciferian Rites of Venice vampiric occult seventeenth and eighteenth centuries.
AZ: You're in the midst of the promo DVD, how media react to this movie? I'm not talking about the alternative press, but most mainstream media, what do you face: Curiosity? Rejection? Derision?
LC: Surprisingly, it's going very well. Again, instead of curiosity. Sometimes a bit of derision, but overall it's still okay. I guess they feel that the subject already so extreme and unusual that they do not feel the need to add more. Somehow, I think that the mainstream media which you refer are so lost that they are willing to accept everything. The current mass culture today seems much more bizarre than what produce most of the margins, including the most extreme.
We swim in the global economic crisis, with pandemics that appear and disappear at the whim of winds, harbingers of a large-scale climatic upheaval, elites completely disempowered at the head of Western societies disintegrating, the politico-economic in every corner of page, FILING generalized biometric, genetic tests to detect the entrance exam cheaters of the large schools, drones who wander over the sensitive cities ... then after all, why not Vampyres? For my part, I find them perfectly integrated in our time. It might be time to revisit the concept even "normal", right?
AZ: Absolutely, but speaking of mainstream media I did not necessarily normal, actually it is more likely that the vampyre community members are more "normal" humanely as the protagonists in Secret story that spread throughout the media right now, for example, do not you think?
LC: Well, the Vampyres at least have the merit of trying to cope on their own, unlike the protagonists in Secret Story, which is only the nth sacrificial turkeys a loss of television speed. We can criticize the Vampyres and even make fun of them, but at least they try to find the exit doors, they try to recreate a universe in a society that does not make them gifts. What has more value when you know where they come from, when we know the neighborhoods where some of them grew up. Most of us do not spend five minutes.
That implies St. Anthony early in the film, explain where he found redemption through Vampyre his release from prison, is entering the Clan Hidden Shadows he finally managed to distance himself from Street.
AZ: In this film, you ask the question what would this community if it was in the hands of ill-intentioned leaders and is an excellent question. Awareness and grow this community can see some concerns about, what do you think?
LC: It seemed necessary to mention in my comment because it is a question that one is able to arise. The temptation to manipulate a subculture to operate in a political or religious does not date from yesterday, but it never really worked. We never managed to unite or unify behind a scene one flag. There must be a gene inherent chaotic phenomena from the underground, which makes them permanently unusable. What I find rather reassuring.
AZ: As you say in conclusion of the film, we witness the emergence of many cons-grown cultures of people who seek above all to escape their daily lives. You went specializing among others in the study of these cons-cultures, did you recently met others on your path on which you'd like thee look longer?
LC: There would be some clans of werewolves in Scandinavia ... I was told about red magic rituals, which practitioners operate barefoot in the snow in midwinter. I am also preparing a new documentary film, always in collaboration with Lukas Zpira, which will this time be more oriented to the cyberpunk and anticipation. A form of round the world science fiction, again based on the principle of permeability of reality and fiction, for which shooting is scheduled for 2010.
We also participate in the Borderline Biennial of the Abode of Chaos, Saint-Romain-au-Mont-d'Or, where Satomi and Lukas have just taken a performance that I would describe as "unprecedented" and that we already talk a lot on the Internet. (Laughs) And for my part I operate as usual a little behind, working with Thierry Ehrmann on a narrative "gonzo" Borderline Biennial of which should be released as a novel early next year. There are many things to say and to tell the different between visits and some exceptional performances, particularly that of the writer Norman Spinrad.
The Abode of Chaos is really a very special place, multidimensional, where you take the time to get "physically". Photographs and videos can not account for experience specific to each site. And I say that without any form of proselytizing, without the slightest hint mystical or occult. Density and about the works carried out on site as the case may provoke, excite or provoke thought. There's something going on and it is already rare enough to be stressed.
Interview Laurent Courau, journailste and director of Vampyres, conducted by Alyz Tale, released in spring 2010 in the sixty-first issue of the magazine Elegy.
Alyz Tale: The last time we discussed with you the subject of Vampyres, was for the release of your book by Flammarion in spring 2006, it's been a while! Why the DVD he put so much time out in France?
Laurent Courau: Just because the movie was not completed in 2006. Some filming took place well after the book came out, as our exploration of the esoteric alongside Venice Marcos Drake or the meeting of Lord Taiki occult shop in Osaka, Japan. He then had to tackle the mounting, stretching over many months.
Unlike a work of fiction built on a scenario beforehand, the narrative thread of a documentary turns up often during the post-production phase. Initially, we do not know what is going to bring back images as starting shooting, especially when on an adventure in territories like the Bronx or English Harlem with Clan Hidden Shadows or the red light district of Amsterdam and the French Quarter of New Orleans. I had Vampyres manage, but also the environment with people who lived there ... the development of a documentary can be very chaotic. So it is only after my return, watching the hundreds of hours of footage in my possession, I have considered how I would tell this story. A process that took time.
And he then had to find a distributor, what happened with Patrice Lamare and Stephanie Heuze the video store Hors-Circuits (http://www.horscircuits.com/) who introduced me Team Chat Qui Fume (http://www.lechatquifume.com/). They have done an outstanding job with this release almost "collector digipack with three components, a 32-page booklet of photographs by Lukas Zpira Vampyres, filled with bonus footage and new interviews, etc..
AZ: So it's been years since you began to investigate the community of Vampyres, and like all communities has been changing a lot, which way would you say it changed since we these images were shot?
LC: When we started shooting in December 2002 the world was much different than it is today. New Yorkers were still reeling from the attacks of September 11, 2001, but it seems to me that the world was more cheerful, more optimistic than it is today. New York was also a city more open at this time. Many places were closed at night in Manhattan, the city has gentrified and rents have increased.
Like every time it happens, the marginal mobilities were forced to retreat to the outside of the city, in this case to less expensive neighborhoods so far from Manhattan, Brooklyn, the Bronx, Queens and New Jersey. What makes the vampyre community is still there still active, but quieter, less visible. This does not mean she is less active, it simply waits for its time. We can expect more changes with the economic crisis that hit very hard New York. Rents will probably fall, the mayor may have other fish to fry than to control the nightlife, which should allow Vampyres and freaks of all kinds to reinvest the city. These phenomena are cyclical.
AZ: Of course one wonders how the Vampyres, particularly those that appear in the film were well able to accommodate the DVD ...
LC: Mixed results with one side of the protagonists of the film as Miguel Valentin, St. Anthony or Ice Pick who proclaim loudly that the film "tells" the truth. And the other, Vampyres (not necessarily in the movie) who scream foul to the revelations contained within their community, its operations and its secret rituals.
tensions are even more palpable around the ritual of blood that we filmed in Hidden Shadows, which comes in the second half of Vampyres. These images have caused a mini scandal and led to heated debates within the community. Same for the presence of the Paris Vampire whose past does not sit well with everyone. But, like it or not, these events and meetings are part of the history of film. It's no longer mine.
AZ: We see in the film as integration with Vampyres communities was not necessarily obvious to you initially, and without any offense, it's true that you have a head "very small white normal "next to them (laughs), how did you finally managed to integrate you well?
LC: The vast majority of the protagonists of the film had never been faced a camera and did not see our presence necessarily a very good eye. Distrust rather understandable when one knows the virulence of American mass media with regard to anything out of the norm. So I had to convince them and win their trust. As always, it is a story of human encounters. I originally received a special relationship with Lukas Zpira Hidden Shadows. Then there was the meeting with Father Sebastiaan who invited me to New York and New Orleans, introduced me to other persons of the community, as Michelle Belanger or Don Henrie.
In terms of my little white head (laughs), I happened to be thankful, as was the case after our first day of shooting in Jamaica, the Queens. We went out to the dusk of a dilapidated shopping center, right in the ghetto. Local gang members were waiting for us, just like in a film: non-standard physical, tattoos, gangster facies gallows, huge 4x4 with tinted windows. They wanted to know what we are trading with our cameras in their neighborhood. And I bet that my head and my little white exotic accent helped us get ourselves out cheaply, with the promise that I would warn before returning the next time. To conclude, I learned the next day in the newspaper that a shootout between gangs and the police had just eight people, specifically in the area where we were.
AZ: We had vaguely mentioned in our previous interview, culture vampyric begins to arrive in Europe and probably even more so since the book came out, do you keep an eye on what is happening here at this level? How does it evolve?
LC: I attended by far the formation of a number of clans inspired New York model. Trade has been established between France and the U.S. east coast. It's obvious the two continents are complementary, with roots and a secular culture on the side of old Europe and a huge reservoir of energy in the United States. The vampire archetype is now ubiquitous in popular culture, through literature, film, television series and video games. Which can only support the development of an open-questioning, with experiences that combine artistic creativity, dark and esoteric martial arts. After no one can predict the coming changes, but I bet it will be amazing, unique and always interesting to follow.
is fascinating because we can see in the film community vampyric New York was born in the ghetto, in neighborhoods far from the image forged by fantasy literature, basically it's a bit cons-as if a vampire culture had emerged in the 93 cities in the Paris suburbs. This aspect does he dig a certain ditch, in any case a gap between the U.S. and the Vampyres emerging European vampire scene?
LC: The shift is evident, but the reactions negative remain limited. Instead, I am delighted with the enthusiasm, curiosity and openness of the French and European scenes. At worst, I happened to talk with a small group of occultists self-proclaimed, close to the dark folk scene, who see a very dim view of the emergence of an American stage and multi-ethnic. Honestly, I'm not interested. As Lord of the Hidden Shadows in Zillah Vampyres, "people are people. There will always be ignorant. "That said, nothing prevents them to go on site to explain their thinking to Vampyres. We wish them well fun.
AZ: Actually I was thinking the opposite: the reaction of Vampyres U.S. before the emergence of a European scene actually quite distant from their own origins ...
LC: The reactions are generally good . Americans are curious about what happens here. Europe represents for them a kind of paradise lost at the edge of cliché postcard with its traditions, its ancient stones, ancient secrets, etc.. The idea that their scene may in turn influence the Europeans a lot flatter.
But you also Vampyres from the ghetto who do not care of what's happening in the world. Maven Lore, a fansgmith New Orleans, told me about the members of the Crips that counted among its clients. I do not think they are very interested in the masonry and the Luciferian Rites of Venice vampiric occult seventeenth and eighteenth centuries.
AZ: You're in the midst of the promo DVD, how media react to this movie? I'm not talking about the alternative press, but most mainstream media, what do you face: Curiosity? Rejection? Derision?
LC: Surprisingly, it's going very well. Again, instead of curiosity. Sometimes a bit of derision, but overall it's still okay. I guess they feel that the subject already so extreme and unusual that they do not feel the need to add more. Somehow, I think that the mainstream media which you refer are so lost that they are willing to accept everything. The current mass culture today seems much more bizarre than what produce most of the margins, including the most extreme.
We swim in the global economic crisis, with pandemics that appear and disappear at the whim of winds, harbingers of a large-scale climatic upheaval, elites completely disempowered at the head of Western societies disintegrating, the politico-economic in every corner of page, FILING generalized biometric, genetic tests to detect the entrance exam cheaters of the large schools, drones who wander over the sensitive cities ... then after all, why not Vampyres? For my part, I find them perfectly integrated in our time. It might be time to revisit the concept even "normal", right?
AZ: Absolutely, but speaking of mainstream media I did not necessarily normal, actually it is more likely that the vampyre community members are more "normal" humanely as the protagonists in Secret story that spread throughout the media right now, for example, do not you think?
LC: Well, the Vampyres at least have the merit of trying to cope on their own, unlike the protagonists in Secret Story, which is only the nth sacrificial turkeys a loss of television speed. We can criticize the Vampyres and even make fun of them, but at least they try to find the exit doors, they try to recreate a universe in a society that does not make them gifts. What has more value when you know where they come from, when we know the neighborhoods where some of them grew up. Most of us do not spend five minutes.
That implies St. Anthony early in the film, explain where he found redemption through Vampyre his release from prison, is entering the Clan Hidden Shadows he finally managed to distance himself from Street.
AZ: In this film, you ask the question what would this community if it was in the hands of ill-intentioned leaders and is an excellent question. Awareness and grow this community can see some concerns about, what do you think?
LC: It seemed necessary to mention in my comment because it is a question that one is able to arise. The temptation to manipulate a subculture to operate in a political or religious does not date from yesterday, but it never really worked. We never managed to unite or unify behind a scene one flag. There must be a gene inherent chaotic phenomena from the underground, which makes them permanently unusable. What I find rather reassuring.
AZ: As you say in conclusion of the film, we witness the emergence of many cons-grown cultures of people who seek above all to escape their daily lives. You went specializing among others in the study of these cons-cultures, did you recently met others on your path on which you'd like thee look longer?
LC: There would be some clans of werewolves in Scandinavia ... I was told about red magic rituals, which practitioners operate barefoot in the snow in midwinter. I am also preparing a new documentary film, always in collaboration with Lukas Zpira, which will this time be more oriented to the cyberpunk and anticipation. A form of round the world science fiction, again based on the principle of permeability of reality and fiction, for which shooting is scheduled for 2010.
We also participate in the Borderline Biennial of the Abode of Chaos, Saint-Romain-au-Mont-d'Or, where Satomi and Lukas have just taken a performance that I would describe as "unprecedented" and that we already talk a lot on the Internet. (Laughs) And for my part I operate as usual a little behind, working with Thierry Ehrmann on a narrative "gonzo" Borderline Biennial of which should be released as a novel early next year. There are many things to say and to tell the different between visits and some exceptional performances, particularly that of the writer Norman Spinrad.
The Abode of Chaos is really a very special place, multidimensional, where you take the time to get "physically". Photographs and videos can not account for experience specific to each site. And I say that without any form of proselytizing, without the slightest hint mystical or occult. Density and about the works carried out on site as the case may provoke, excite or provoke thought. There's something going on and it is already rare enough to be stressed.
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