FUCK THE POLICEmp3
FUCK THE POLICEmp3
AL QAEDA=FBI=MI5=KGB=ISI=MOSSAD=*****=MI6=CIA
http://www.j-n-v.org/Mil_Prison_Diary.htm
PEOPLES GRAFFITI ACTIONS
why all the bombs banksy? 'cos it's healthy to think about bombs all the time, 'cos u can't get yr head round the fact that humans have created the hardware to make their entire species extinct. we're all so into money 'cos we all know that atomic bombs have taken our future away from us
suicide@bomblondon.com
Anti-technologies of resistance entail the destruction of the cultural and scientific technologies which are at the service of power, and, secondly, the creation of 'unpleasant,' 'dissatisfying,' dubious, and crazy practices that cannot be included in the toolbox of the technologies of power. We would like to stress the importance of the terms 'dissatisfying' and 'unpleasant.'
Dissatisfaction is the only real product of anti-technologies of resistance. Deep, restless, and exciting dissatisfaction should be felt not just by the power structures, against which resistance is realized, but also by the resistors themselves and by the 'uninvolved' observing audience. To cultivate anti-technologies of resistance means to create an atmosphere of unpleasantness, defeat, disappointment and indignation in today's world of successful 'humanitarian interventions' (for example, in Iraq and Yugoslavia) and festive representations of triumphing cultural imperialism. Anti-technologies of resistance are like a fart at a cocktail party with guests dressed in evening attire. This fart must be really unbearable and instill consternation and dissatisfaction into the souls of those present. It should not have anything in common with Christof Schlingensief's theater or Roman Singer's performances. This fart must be really anti-artistic, but not like punk or J.J. Allin, because these are also technologies. Anti-technologies are not art, but at the same time they are art because nobody knows what art is although everybody can do it. Anti- technologies are the striving for the impossible, and in no case just another aesthetic phenomenon which decorates the pages of art magazines. Art magazines are shit!
all discourses, all objects.
Struggle at the level of elementary particles of
thoughts and activities. Start with yourself, with
your own context, your professional field. Re-view
theoretical approaches; give up using current
discourses, contemporary formulas, fashionable
technologies. Speed, imposed by modern culture, is
just the speed of capital. It is necessary to brake
sharply, to stop and slow down. It is necessary to
carry out what Foucault called a return to: "If we
return, it is because of a basic and constructive
omission, an omission that is not the result of
accident or incomprehension.... This non-accidental
omission must be regulated by precise operations that
can be situated, analyzed, and reduced in a return to
the act of initiation. Both the cause of the barrier
and the means for its removal, this omission - also
responsible for the obstacles that prevent returning
to the act of initiation - can only be resolved by
return... It follows naturally that this return... is
not a historical supplement that would come to fix
itself upon the primary discursivity and redouble it
in the form of an ornament... Rather, it is an
effective and necessary means of transforming
discursive practice." (What is an Author?)
A 'basic and constructive' institutional omission of resistance-culture (the culture of Mary Richardson, Arthur Cravan, Antonin Artaud, Martha Rosler, Adrian Piper, Gustav Metzger, Jack Smith...) has already taken place. About a return, so far, we don't have to speak.
Graffiti-research: In existence (inofficially)since 250 years(archeology,language studies etc.)now officially offering 4900 pages of informations covering 50 000 years of visual documentable communication via http://people.freenet.de/graffitiforschung.de/KSurl.htm
voluntary efforts. KASSEL GRAFFITI-ARCHIVE:72 000 documents BIBLIOGRAPHY= 20 000(mostly autopsied)entries We helped 1000 students globally,for the use and visit of ARCHIVE being free but they have to donate a copy of their exams in return. Contact me before to make shure I`m present,scientific counselling-of course-included. @-mail? ARCHIVE1@aol.com
Axel Thiel Kassel Germany
The CIA had stolen the show from Picasso, taking art a step further into a near mystical expression of unfettered human liberty in the spirit of free enterprise. Nelson Rockefeller, whose family created the MoMA, actually referred to Abstract Expressionism as "free enterprise painting." But like so many Rockefeller ventures, it was state supported, so that his own collection of Abstract Expressionist works ended up being worth a considerable fortune.
But why, then, did it come to an end? The Cold War exploded into the Vietnam War and rebellion overtook the arts. The social revolution of the Sixties brought with it Pop Art, Op Art, and various forms of social protest art, forcing Abstract Expressionism to the sidelines, even if prices were still good. Confronted with James Rosenquist’s "F-111," abstraction lost its force. Even more than this, the answer lies in a paraphrasing of a remark by comedian Mort Sahl about why the student movement ended. "The government withdrew its funding."
CHECK THIS :
http://irational.org/heath/pornography_as_protest/index.php
http://ourmayday.org