P/K/M_2

and you saw the fires falling
the sky crawl
walls whispering to shadows
helicopters and monitors
the names of heroes with unmarked tags
and you waited (by the window)
and you looked (thru their eyes)
and you stood, silent (speaking but not believing)

you let it pass
and now it passed you

now
you are distance
and this distance is your demise

P/K/M_1

and they sit in their rooms, empty
or worse, full of memories
what do they listen to now, except for the echoes of their feet on cement and their hands on skin
they are now only touched by isolation

X

NO MORE QUESTIONS,
JUST MARKS

?

Poetika Zaglavii

a poetics of titles

Silence is Violence

dedicated to illusion

just 5 seconds

Well look out

Well I’m sick
I’m so sick
Of a lot of people
Tryin’ to tell me
What I can and can’t do
With my life

And I’m tired
I’m so tired
Don’t want you and me
To enjoy ourselves


But hold on a second
I smell burning
And I see a change
Comin’ ‘round the bend
And I suggest to you
That it takes
Just five seconds
Just five seconds
Of decision
To realise
That the time
Is right
To start thinkin’ about
A little…
Evolution!

found film_1

dream photography/exploration of sleep

NI pardon, NI talion

NEITHER FORGIVENESS NOR RETRIBUTION

the forgetting of remembering

Most of the great men we were brought up to worship were nothing more than cynical or sly murderers. History as taught in schools and peddled by an overflowing and hagiographic literature is a model of falsehood; to borrow a fashionable term, it is negationist. It might not deny the reality of gas chambers, it might no longer erect monuments to the glory of Stalin, Mao or Hitler, but it persists in celebrating the brutish conqueror: Alexander, called the Great—whose mentor was Aristotle, it is proudly intoned—Julius Caesar, Genghis Khan, Tamerlane, Napoleon, the throngs of generals, slaughterers of peoples, petty tyrants of the city or the state, torturer–judges, Javerts of every ilk, conniving diplomats, rapists and killers contracted by religions and ideologies; so much high renown carved from baseness, wickedness, and abjection. I am not suggesting we should unpave the avenues of official history and pave the side alleys instead. We are not in need of a purged history, but of a knowledge that scoops out into broad daylight facts that have been obscured, generation after generation, by the unceasing stratification of prejudice. I am not calling for a tribunal of the mind to begin condemning a bunch of undesirables who have been bizarrely put up on pedestals and celebrated in the motley pantheons of official memory. I just want to see the list of their crimes, the mention of their victims, the recollection of those who confronted them added to the inventory of their unsavory eulogies. I am not suggesting that the name of Francisco Ferrer wipe out that of his murderer, Alfonso XIII, but that at the very least everything be known of both. How dare textbooks still cultivate any respect for Bonaparte, responsible for the death of millions, for Louis XIV, slaughterer of peasants and persecutor of Protestants and freethinkers? For Calvin, murderer of Jacques Gruet and Michel Servet and dictator of Geneva, whose citizens, in tribute to Sébastien Castellion, would one day resolve to destroy the emblems and signs of such an unworthy worship? While Spain has now toppled the effigies of Francoism and rescinded the street names imposed by fascism, we somehow tolerate, towering in the sky of Paris, that Sacré-Coeur whose execrable architecture glorifies the crushing of the Commune. In Belgium there are still avenues and monuments honoring King Leopold II, one of the most cynical criminals of the nineteenth century, whose “red rubber” policy—denounced by Mark Twain, by Roger Casement (who paid for this with his life), by Edward Dene Morel, and more recently by Adam Hochschild—has so far bothered nary a conscience. This is a not a call to blow up his statues or to chisel away the inscriptions that celebrate him. This is a call to Belgian and Congolese citizens to cleanse and disinfect public places of this stain, the stain of one of the worst sponsors of colonial savagery. Paradoxically, I do tend to believe that forgetting can be productive, when it comes to the perpetrators of inhumanity. A forgetting that does not eradicate remembering, that does not blue-pencil memory, that is not an enforceable judgment, but that proceeds rather from a spontaneous feeling of revulsion, like a last-minute pivot to avoid dog droppings on the sidewalk. Once they have been exposed for their inhumanity, I wish for the instigators of past brutalities to be buried in the shroud of their wrongs. Let the memory of the crime obliterate the memory of the criminal.

Leviathan ll

freedom is the silence of the law (external history, the politics of the linear)
law is the silence of the image (internal history, the politics of the abstract)

Violence is the reformation of the basic principles of the centers of transmission for information/enterteinment in such a way that the viewer is given a pseudo space where they are led to believe that they can maneuver of their own free will within the image landscape.In fact this space is controlled by the transmission centers to such a degree that images are designed to be abstract and non-aligned while at same time they are calculated to such a degree so that the biological editing that occurs as the shutting and open of the eye lid is predetermined.
We are at the point where we are witnessing the largest construction/production of the most effective synthetic drug that has appeared in the history of addiction.

the opium war part 2 : preemptive propaganda for the purpose of designing non-restiance. The viewer is given the completed image, the synthesis is witnessed and within the synthesis the thesis and antithesis has been incorporated. So that what is their for one to resist against?
the fall of the forbidden city: the realm of the retina and the invasion of certain centers of the cortex opening them up to image pollution. This image pollution is effective exactly because it creates the need to need it . the lines of war have been blurred in such a way that the viewer asks for the invasion.
Image trafficking: all landscapes covered by the veil of "the image". the new monetary system is based on image exchange, the stock market as stock footage market.
The infinite trade: instantaneous re-production of the image in a new real time that is more real than the real time as it has been developed in history. This new real time is outside of history, or rather it is closer to a new bio-history that is created thru a dialogue of images(image trade).

may

blood

neu!

photo by N.F.

no labyrinth, just a straight dwonward spiral

the door is locked, the key has been thrown way

a battle of currents

a battle of currents

a battle of currents

memory deaths

The Substance: aria

Aria is contained in an eyedropper. Once taken any memory you’ve ever had is available to you all over again. Not a memory like you have experienced it before, but the actual event itself-completely renewed: playing in front of you as though you were experiencing it for the first time. One problem with aria is that the memories remembered are not all good. In fact, aria guarantees at least a portion of terrible memories. In fact there is a recent rash of deaths under the influence of aria. These deaths are called: Memory Deaths. The Memory Technicians (un-official researchers of aria) attribute these deaths to the possibility (probability) of the remembrance of “The Fall”, while using aria. It is a paradox, since aria was conceived as a way of escaping into memories and forgetting “The Fall”(this is not the official reason that aria was conceived, but this is why it is used on the streets). But the most important attribute of aria is not that the drug allows you to have a good or a bad memory, but something else: aria allows you to remember the future. The Memory Technicians have a theory that aria was conceived by the government right after “The Fall”. They believe that the government was fine-tuning some interrogation aid. They (the government) thought that aria would prompt certain kinds of memories, and then they thought that they could coerce certain kinds of testimonies with these memories. The government could torture certain foreign nationals, force confessions from these people. And the confessions would be freely signed, because the memories would be true: therefore capturing those responsible for “The Fall” and creating security.

But as with all substances, aria got pushed onto the streets. It is now widely used and has turned a large sector of the population into Memory Addicts. The major distributor of the substance is a cartel known only as The Empire.

a battle of currents

I Wanna Be Your Dog from LEGS on Vimeo.

The New an Improved CAN D

if only you could

The Civilians War

the manipulation of meaning

new single out!

ohne titel

mika and ilpo at waterloo station ten years ago.

under re-

from here

The Seneca anti-source

“To consort with the crowd is harmful,” Seneca writes in Letter VII of Epistulae morales ad Lucilium, “[because] there is no person who does not make some vice attractive to us, or stamp it upon us, or taint us unconsciously therewith. Certainly, the greater the mob with which we mingle, the greater the danger.”

(a-to develop a parallel culture in which we commune among ourselves to strengthen our opposition to the dominant culture
b-to imagine a positive cultural movement that focuses first on building small communities of resistance that are impervious to the influences of mass culture)

W(rec) Mode

Plague Syndrome

in the middle course between the heights and the depths, we drifted through life rather than lived, the prey of aimless days and sterile memories, like wandering shadows that could have acquired substance only by consenting to root ourselves in the solid earth of our distress.
thus we came to know the incorrigible sorrow of all prisoners and exiles, which is to live in the company with a memory that serves no purpose.

The Actions of Voluntary Restraint

Ministry of Antisocial Insecurity

i know you are but what am i ?

Kingdom Professional

Kingdom professional (ism)
Part one

There is a new breed of well cultivated, wired and culturally tired (they are tired and jaded because this is their signature/their hallmark and trade card) new professionals that are beginning to enforce there hegemony on the so called Greek art scene (cells). This is a new strand /a new virus.
What are the characteristics?
One of the most important characteristics of this virus is that they like to infiltrate into the nucleus of the art cells, to absorb whatever originality there might be in these cells and then to incorporate this originality into their own profit oriented metabolism: the metabolism of manipulation.

A new predatory animal that can smell success (Damien Hirst’s shark is out of the formaldehyde and is in the water, it is not cut up and it is searching for new talent/raw meat. It is the professional as a work of predatory art)

The second characteristic is that they like to take very dangerously, calculated risks. What is the nature of this risk taking? On one level it is creating synthetic antagonisms between various art cells and then when this antagonism is fuelled and finally leads to a form of destruction (either self-destruction of a single cell or mutual destruction between cells) then the professional will side with the strongest party and gain as much as possible from this party but they will also console the weakest party because they will be able to profit off of their position of weakness. On a second level it is allowing themselves to be put in a (seemingly) risk taking position( this is usually communicated thru such terms/phrases as: I believe in you when no one else does/I have staked my career on you etc…) and then playing this position so that the art cells will feel the need to cater to the economics of the professional. In terms used by another writer, the professional creates a superior algebra of need.
The third characteristic is that the new professional (or as we would say a parasite) is also an artist. And in fact they are. They have elevated dependence, intellectual malnutrition, and the overall buy now pay never and steal and profit from any originality into a form of art.
Of course there are also other characteristics but many of these seem to be passed from generation to generation. For instance the fact that most of these professional predators are from a proper lineage, that they have an abundance of money (and therefore time) and all the other usual characteristics which are well known and which one would not spend time to document.
Probably the most dangerous characteristic of the professional is that he/she is undistinguishable from the art cells that are infiltrated and digested (and finally manipulated) by him/her.
To be continued with: shape shifting/the professionals new clothes

CC_program/three:

THE LIBRARY OF UNREADABLE BOOKS

CC_program/two:

INVENTIONS WITHOUT A FUTURE

CC_program/one: naive theory

NAIVE THEORY

non-pragmatic situations
will only be found
after several years
of wrong calculations

CC

the last image of a cell phone camera death

impossible vision_audio aid

new singles out now!

1000

device: devise

Built to Break

obscured by light

leavesletters from THE FALL

inkblood poison

this is not...

lost(in)bodies

Ascension

the safety of objects/polaroid flesh wound_message from THE FALL

moment_memory corruption/ after THE FALL

30 seconds imagination during THE FALL

red_green portraits/stop go_pictures from THE FALL

weekend

communication from the abandoned city_1

never disturb a man that is looking intensely at nothing

squarehead bibliotek in cote d' azur

monaco sucks

At monaco is only allowded to drive very expensive silly cars.

"real" estate agency in Nice

the finest new developments by "real" estate

7

The tyranny of the twenty-first century is called "Democracy"

The Other

The problem with human desire is that, as Lacan put it, it is always 'desire of the Other' in all sences of that term: desire for the Other, desire to be desired by the Other, and, especially desire for what the Other desires.

From Zizek' s: Violence

This is a clear sign of the limit of the multiculturalist 'tollerant' approach which preaches open borders and acceptance of others. If one were to open the borders, the first to rebel would be the local working classes. It is thus becoming clear that the solution is not 'tear down the walls and let themin', the easy empty demand of soft-hearted liberal 'radicals'. The only true solution is to tear down the true wall, not the Immigration Department one, but the socio-economic one: to change society so that people will no longer desperately try to escape their own world.

Slavo Zizek: Violence

charlie bird parker and chan parker

friendship

yesterday in nice

in the gallery of glass hearts roll up your sleeves and plough thru the cuts and breaks

Les Paul is dead

Les Paul at wiki

architecture in nice

art in nice

alone

yesterday with ESG at Cannes

a 90s track

a 90 s track

spot the difference

blog blow-up

Towards A Philosophy of Photography by Vilém Flusser

The difference between the old and the new form of witchcraft may be so formulated: Pre-historical magic is a ritualization of models called "myths," and the current magic is a ritualization of models called “programs.” Myths are models transmitted orally by an author who is "god," that is, someone who stands outside the communicative process. Programs are models transmitted in writing by authors who are "functionnaries," that is, people who stand within the communicative process.

the majority of people is currently occupied in servicing the programming and controlling activity of the apparatus. Prior to the invention of apparatus, this kind of activity was somehow peripheral, and used to be called "services," "mental," "the tertiary sector," and so on. It has now become central, which is why any future critique of culture must substitute the category "work" with the category "information."

‘The camera is not a tool, but a toy, and the photographer is not a worker as such, but a player: not "homo faber," but "homo ludens." Except: the photographer does not play with, but against, his toy. He crawls into the cam-era in order to discover the tricks hidden there. The pre-industrial craftsman was surrounded by tools, and the industrial machine was surrounded by workers, but the photographer is within the camera, intricaled in it. This is a new kind of relationship, where man is neither the constant nor the variable, but one where mart and apparatus form a single function-unit. This is why the photographer should be called the "functionnaire" of an apparatus.

photographs constitute a magical circle which surrounds us in the form of the photographic universe. It is this circle which we must break through.


download the whole essay here

contemporary artists are dead and rotten.
become a real time artist.

the lure of perfection

perfect behavior is born of complete indifference

la jette

Forgeting is not an abandoment of the past, but premission to elaborate, to reconstruct differently, to mix up the syntax.

shhhhh

wintermute

silence

We should just drink coffee until the blur effect makes us completely transparent so that the poison of vision infects us all.

The Erasers at synch 2006 edited by dr. delay

The Erasers at Synch festival 2006 from ava on Vimeo.

last year with drog_A_tek

indust_REAL EVOL_ution by drog_A_tek & the erasers from ava on Vimeo.

live at athens festival 2008
indust_REAL EVOL_ution by drog_A_tek & the erasers

THE FALL

THE FALL

Two new singles about geil. Out now!