Over the years he had many, in fact, although few of them lived up to his expectations. But never mind. An updated model of his and Ian Sommerville’s Dreamachine was recently featured in a symposium on art, AI, and the humanities here in New York; and another will be installed in London at the Tate Modern, in the exhibition Electric Dreams: Art and Technology Before the Internet, which will run from the end of this month (Nov. 28) to June 1, 2025.
Meanwhile, Roger Knoebber has brought Gysin back to life in a shaggy, unconventional book-length profile, Hysteresis. The book opens with Chapter 23 — there are no other chapters — and begins this way:
• • •
Brion Gysin was a liar, a coward, a thief and a queer.
“Quite true, Roger. It would be good and accurate on my gravestone, if I had one; but since I was baked into a handful of ashes, I don’t. Do be prudent, though, you don’t want to alienate your readers!”
Speaking in italics these days, are you, Brion?
“Well, yes. It’s really the only way … an appropriate vehicle for my sentiments, I think. By the way, when you quote me directly, do use bold italics so the Reader won’t get confused.”
Good idea there, Boss; I was wondering how to get that part straight. I will, of course, make an index of contributors, too, with a convenient reference to their statements.
“Excellent. Everybody likes to see their name in a book.”
By-the-by, Boss, what is it like to be dead, kacked?
“I knew you would ask, you are so inquisitive! I’ll shock you with a brief and precise response: Being dead is Oblivion; I add, as well, that Oblivion has certain enchantments and advantages that you can’t imagine …”
• • •
Roger Knoebber (1939-2004) moved to Paris in 1959 and lived for several years at the so-called Beat Hotel on rue Gît-le-Cœur, where he became close to Gysin. He subsequently corresponded with Gysin for 22 years. In 1984 he returned to Paris, after raising a family in California, and lived near Gysin during his old friend’s final years.
In an Afterword, Knoebber notes that Hysteresis “was completed ten years to the day after Brion Gysin’s death” and “is an attempt to convey … the powerful influence which [he] exerted on the creative world during his productive years.” Furthermore:
The fictitious “conversations” in this book are intended to give an idea of the range of Brion’s imagination, certainly not to be construed as indicative of his thinking The same must be said of the liberties I took with William S. Burroughs. Those “conversations’ depict Brion and William in casual moments, exchanging information with characteristic free flights of imagination. Their collaboration was familiar and characterized by a noble attitude of mutual respect throughout their careers.
Knoebber writes that he is fully aware that many people who knew Gysin might well differ with his impression of the man. And so, perhaps as a counterweight, he has assembled a section of factual comments mostly based on interviews with more than a dozen artists, writers, musicians, photographers, publishers, and agents who knew Gysin or had dealings with him themselves — including Françoise Janicot, Simon Lane, Gabriel Morgan, Jason Weiss, Marc Dachy, Nancy Ryan, Ramuntcho Matta, Terry Wilson, and Burroughs.
For those who have a more specialized interest, here’s a lengthy video of the Hysteresis book launch:
