LE MUSÉE PATAMÉCANIQUE
by MATTHEW NASH
'Patamechanics is a method of
discovering/manifesting artifacts' much like those of the ancient Wonder-rooms,
'which symbolically attribute their properties described by their virtuality to
their lineaments.' A Patamechanical artifact or device is displayed with the
intention of validating the existence of a realm or entity 'supplementary to
this one; or, less ambitiously, describe a universe which can be - and perhaps
should be - envisaged in the place of the traditional one.'
The primary goal of the Musée Patamécanique is to explore the meaning and
possibilities of Patamechanics [...] [1]
Le Musée Patamécanique can only be seen by guided tour,
courtesy of the curator, Neil Salley. Its location is a secret, although anyone
can tour Le Musée and Salley is a gracious host. To learn the location all one
must do is make an appointment. You are allowed to know, however, that Le Musée
is located in
Le Musée is an experience: part performance, part history, part fantasy. It is
simultaneously illuminating and mysterious, and even having spent a healthy
amount of time within its walls I am still left with questions, and yet those
questions are also part of the dream-scape created by the Patamechanics and the
tour. It is an experience that will be unique for each viewer, and I write
about it in my own voice, and from my own experience, because there is no
objective approach to something that becomes so wholly internalized and
personal as a tour of Le Musée.
My traveling partners, George and Phaedra, and I were met on the grounds by Salley, smiling
broadly in a suit with bow tie and fedora hat. He led us along a path lined by
reproductions of classic sculptures to Le Musée, where we were shown to a tiny
foyer and served a glass of sherry. He told of the history of Patamechanics,
some of which I've excerpted above. We were shown a map of the full museum, and
told that today's tour would only take us to a small section of it. Moments
later, Salley slipped away and left us to our own conversations.
The tiny foyer was packed with images and knick-knacks that hinted at the
evolving history of Patamechanics, from surrealist and Dadaist images to a
phrenology bust, to photos of
With the door closed, we took in Le Musée Patamécanique. Lit only by the tiny
internal workings of 
the pieces, we tried to
find our bearings in the room. Most pieces were black, and one or two shown
with bright blues or greens. Along one wall a projection of a wavy image, like
a broken oscilloscope, quivered benignly. Thus began the tour.
Salley read from his book as he guided us from piece to piece, a Willy Wonka in
the dark, a historian of his own distorted version of history, a curator of a
museum of confounding distortions. We careened from "The Resonance
Machine" to "The Resonating Chamber" before stopping at the
"Crank-O-Wank", a device made of a hand-crank generator, bicycle
tires, and a series of fire alarm bells. With prodding, Phaedra cranked the
device until the bells made a deafening clang, and the room sprung to life.
Immediately Salley had us by the elbow and led us to "An Olfactory
Lighthouse", an amazing device with metallic tubes blowing various scents
derived from commercial products. We spent several minutes making a circuit
around the device, all three of us proclaiming delight or disgust at the smells
issued forth. From there he took us in turn to the many pieces in the room,
each a fascination unto itself, part of a larger vision of a world distorted,
proof of a history that had never occurred.
The key to Salley's tour was his presentation of each piece as a genuine and
historied work of science. He mixed true history with false, layered literary
references with science fiction, and famous poems with those of his own
invention. Le Musée, in essence, was history because it could not NOT be
history; it created its own truth, and supported these facts with material
evidence.
The centerpiece of Le
Musée, and by far its most accomplished piece, is "A Time Machine," a
spinning disc nearly eight feet across that sounded like a train coming down
the tracks, and when it reached full-speed suddenly unveiled a visual treat
that cannot be described. In some small way, time opened, or at least a
perception of time, and the visual illusion created became secondary to the
alternative reality that was illuminated. It would make Jules Verne cry.
Equally as enjoyable as the experience of the mysterious machines is the
understanding that they are all based on real science, or adapted from science
fiction, and thus can be 'understood' as mechanical machines with logical
workings. "A Time Machine" is essentially a large kinetoscope,
although the complexity of its workings and the beauty of its results are far
more impressive than figuring out the science behind them. This, ultimately, is
what Le Musée is all about: that knowing how something is done can often be far
less important that understanding what it evokes. By giving up one's desire to
understand the logic of a machine, one can see the beauty of its workings.
I stood for several minutes before the piece "The Dream Of Timmy Bumble
Bee", trying to figure out how it works. The device houses the carcuses of
several bees, each held by its wings with electrical clips whose wires climb
the walls to a series of glass jars, each showing a re-animated bee made of
pure light, fluttering in the black space. Eventually I came to realize that I
didn't really care how it worked, as the beauty and optimism of the dream it
created was far more pleasing to me than knowing what voltage the wires
carried. It was a true Patamechanic device, evoking a dream-world far superior
to its logical counterpart.
As the gracious host and tour guide, Salley is as much a part of the experience
as the devices. He hints at being a Patamechanic himself, and presents his
museum with the love of a curator and the passion of a scientist. While the
museum is still open and the weather is still fair, make your appointment and
travel to see this work. Your vision of what the world might be will be
permanently altered.
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[1] -
Taken from the website of Le Musée Patamécanique.
Please refer to this site for related footnotes and quote attributions.
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Links:
Le Musée Patamecanique
Le Musée is available by appointment only. You can contact the curator via
the website above or by clicking here.
All images are courtesy of Le Musée Patamecanique and the author. Photos by
Richard Dionne Jr.
Matthew Nash is the publisher of Big RED & Shiny.
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MATTHEW NASH.