_____________________Arthur Howling ~
Ah! encore: je danse le sabbat dans une rouge clairière, avec des vieilles et des enfants. Je ne me souviens pas plus loin que cette terre-
Lines of flight and the body mind etcetera... remake the things.....
This first a tribute to that old Dada
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tu pense? alors la googoogaboo?
B U R E A U O F P U B L I C S E C R E T S tu penche tui? tu vous voustu! A User’s Guide to Détournement(1) Every reasonably aware person of our time is aware of the obvious fact that art can no longer be justified as a superior activity, or even as a compensatory activity to which one might honorably devote oneself. The reason for this deterioration is clearly the emergence of productive forces that necessitate other production relations and a new practice of life. In the civil-war phase we are engaged in, and in close connection with the orientation we are discovering for certain superior activities to come, we believe that all known means of expression are going to converge in a general movement of propaganda that must encompass all the perpetually interacting aspects of social reality. There are several conflicting opinions about the forms and even the very nature of educative propaganda, opinions that generally reflect one or another currently fashionable variety of reformist politics. Suffice it to say that in our view the premises for revolution, on the cultural as well as the strictly political level, are not only ripe, they have begun to rot. It is not just returning to the past which is reactionary; even “modern” cultural objectives are ultimately reactionary since they depend on ideological formulations of a past society that has prolonged its death agony to the present. The only historically justified tactic is extremist innovation. The literary and artistic heritage of humanity should be used for partisan propaganda purposes. It is, of course, necessary to go beyond any idea of mere scandal. Since opposition to the bourgeois notion of art and artistic genius has become pretty much old hat, [Marcel Duchamp’s] drawing of a mustache on the Mona Lisa is no more interesting than the original version of that painting. We must now push this process to the point of negating the negation. Bertolt Brecht, revealing in a recent interview in France-Observateur that he makes cuts in the classics of the theater in order to make the performances more educative, is much closer than Duchamp to the revolutionary orientation we are calling for. We must note, however, that in Brecht’s case these salutary alterations are narrowly limited by his unfortunate respect for culture as defined by the ruling class — that same respect, taught in the newspapers of the workers parties as well as in the primary schools of the bourgeoisie, which leads even the reddest worker districts of Paris always to prefer The Cid over [Brecht’s] Mother Courage. It is in fact necessary to eliminate all remnants of the notion of personal property in this area. The appearance of new necessities outmodes previous “inspired” works. They become obstacles, dangerous habits. The point is not whether we like them or not. We have to go beyond them. Any elements, no matter where they are taken from, can be used to make new combinations. The discoveries of modern poetry regarding the analogical structure of images demonstrate that when two objects are brought together, no matter how far apart their original contexts may be, a relationship is always formed. Restricting oneself to a personal arrangement of words is mere convention. The mutual interference of two worlds of feeling, or the juxtaposition of two independent expressions, supersedes the original elements and produces a synthetic organization of greater efficacy. Anything can be used. It goes without saying that one is not limited to correcting a work or to integrating diverse fragments of out-of-date works into a new one; one can also alter the meaning of those fragments in any appropriate way, leaving the imbeciles to their slavish reference to “citations.” Such parodistic methods have often been used to obtain comical effects. But such humor is the result of contradictions within a condition whose existence is taken for granted. Since the world of literature seems to us almost as distant as the Stone Age, such contradictions don’t make us laugh. It is thus necessary to envisage a parodic-serious stage where the accumulation of detourned elements, far from aiming to arouse indignation or laughter by alluding to some original work, will express our indifference toward a meaningless and forgotten original, and concern itself with rendering a certain sublimity. http://www.bopsecrets.org/SI/detourn.htm PhotobucketPhotobucket
Artist _Bohémien, _ detournement _ latter day situationist? It is not enough, therefore, to oppose the centalized to the segmentary. Nor is it enough to oppose two kinds of segmentarity, one supple and primitive, the other modern and rigidified. There is indeed a distinction between the two, but they are inseparable, they overlap, they are entangled. ___________________Les SamEdis perDues blog et blog c'est tres beau. moi jesuis poet de mauvais mots et paroles. recherches des amis et autres Je t'embrace pardon je parle de schizo langueE The Society of the Spectacle___________DeBorders JaBord ColIs Chapter 1: The Culmination of Separation “But for the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, appearance to essence . . . truth is considered profane, and only illusion is sacred. Sacredness is in fact held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness.” —Feuerbach, Preface to the second edition of The Essence of Christianity 1 In societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles. Everything that was directly lived has receded into a representation.
2 The images detached from every aspect of life merge into a common stream in which the unity of that life can no longer be recovered. Fragmented views of reality regroup themselves into a new unity as a separate pseudoworld that can only be looked at. The specialization of images of the world evolves into a world of autonomized images where even the deceivers are deceived. The spectacle is a concrete inversion of life, an autonomous movement of the nonliving. Debord ..
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.. Art Poetry People _ Lines of flight and the body mind etcetera... remake the things.....
This first a tribute to that old Dada
___________________________Kiss UP breakdown Desiring-machines work only when they break down, and by continually breaking down. Photobucket secret language To be a foreigner, but in one's own tongue, not only when speaking a language other than one's own. To be bilingual, multilingual, but in one and the same language, without even dialect or patois. To be a bastard, a half-breed, but through a purification of race. That is when style becomes a language. That is when language becomes intensive, a pure continuum of values and intensities. That is when language becomes secret, yet has nothing to hide, as opposed to when one carves out a secret subsystem within language. Wars, big and little, are behind me. Voyages, always in tow to something else, are behind me. I no longer have any secrets, having lost my face, form, and matter. I am now no more than a line. I have become capable of loving, not with an abstract, universal love, but a love I shall choose, and that shall choose me, blindly, my double, just as selfless as I. One has been saved by and for love, by abandoning love and self. Now one is no more than an abstract line, like an arrow crossing the void
One attains this result only by sobriety, creative subtraction.
