TRIEGO
a poemformance
by
Blank White
*
Art Sabotage is the dark side of Poetic Terrorism--creation- through-destruction--but it cannot serve any Party, nor any nihilism, nor even art itself. Just as the banishment of illusion enhances awareness, so the demolition of aesthetic blight sweetens the air of the world of discourse, of the Other. Art Sabotage serves only consciousness, attentiveness, awakeness.
T. A. Z.
The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism
by
Hakim Bey
*
Jeff Huntington
*
Sean Kilpatrick
reading from
Anatomy Courses
by Sean Kilpatrick and Blake Butler
[Two Angles]
*
1. Stupidity
2. Pretentiousness
3. Solipsism
4. Self-deceit
5. Herd Conformity
6. Lack of Perspective
7. Forgetfulness of Past Orthodoxies
8. Counterproductive Pride
9. Lack of Aesthetics
"The Nine Satanic Sins"
by
Anton Szandor LaVey
*
Chad Wys
*
Imagine our little Eden, our closed whole; pure in its rhythm of eternal return. So long a looping feedback of death and birth, reaffirmation, reinforcement – set loose like burst and flailing hoses. New forms gush out, and the old sink in their deluge. Suddenly there is growth and change, history and ruin.
Our own creations outpace us, turn and confront us, and we dream of the rest that never was.
"The Animal Imperfect: More, Wells & Miéville"
by
Rhys Williams
*
The Antlers - "East River Berlin Wall"
directed by Lydia Roberts
*
Billy Plummer
*
Mariana Castillo Deball
*
She acquiesced of course, because she did not want to make waves. She had found it is easier to agree, to slip through the cracks and disguise any desires of her own, than to retrieve herself and go about the tremors and terrors of existence. She offered herself up as a sacrifice, only slightly used.
“HE TOOK HER AS HIS WIFE”
BY
KATE ZAMBRENO
*
Kirsty Whiten
*
Karla Read
*
THOSE CRAZY INSIDES
by Ben Wheele
*
Accelerationist aesthetics is cartographic at the expense of the mimetic. It’s tasked with helping us trace the slippery contours of the warped and warping world we traverse daily, the seemingly infinite and tangled networks we are plugged into, the non-spaces we inhabit and the subjective modulations they produce, the invisible forces that sway us one way and then another.
"Notes on the Inorganic, Part II: Terminal Velocity"
by
Gean Moreno
*
pixelated fashion
by
kunihiko morinaga of anrealage
*
Felice Varini
*
Matthew Bourbon
*
scrim of the cicadas’ clock’s
second hand ratcheting stiffly around
dog in the distance barks
once then is silent once
is not barking but just
from Revelator
by
Ron Silliman
*
Jorinde Voigt
*
Shannon Sullivan
*
Jehanne-Marie Gavarini
*
Mourning Coup - LIGHT HOUSE
Video & Music by Chandra Melting Tallow
Shot partially on location in Arambol, Goa with Erica Wilk
*
David Willburn
*
John Oliver Lewis
*
Reto Pulfer
*
Samuel Bradley
*
Jessica McCambly
*
Art "allows for an absolute and genuinely transformative liberation-expression, precisely because what it liberates is nothing other than the liberating itself, the movement of pure spiritualization or dematerialization" (Hallward 122): what has to be liberated is ultimately liberation itself, the movement of "deterritorializing" all actual entities. This self-relating move is crucial - and, along the same lines, what desire desires is not a determinate object but the unconditional assertion of desiring itself (or, as Nietzsche putr it, the will is at its most radical the will to will itself).
"Deleuze and the Lacanian Real"
by
Slavoj Zizek
*
"FRIENDSHIP" by MASON PROPER
Dir. by Hott Garbage
*
Uncle Allan
*
Quenton Miller
*
Federico Carbajal
*
Kate Durbin reads 'Lindsay Lohan Arrives at Court' at Multi-Kulti in Chicago 3/3/12
*
Jackie Tileston
"A re-reading of Foucault’s 1967 Of Other Spaces - Heterotopias essay was a recent inspiration since it perfectly defined the intent of much of my current work - to create paintings in which several different locations or spaces are made to coexist within one space. Ideas about how we construct our realities and selves through language, social structure, geography, and belief feed into this desire to juxtapose sites and images that might themselves be somewhat incompatible. My work as a painter is to knit the world together in a kind of visual globalism."
*
Garland Fielder
*
their whittled madness a translation of some queerly haunted girl in the crooked process of straightening
"Fly Glaze Horse"
by
Gary J. Shipley
*
J. Bennett Fitts
*
JACOB EL HANANI
*
Jules Massenet's opera Manon
Anna Netrebko & Roberto Alagna - Act 2
*
Janaki Lennie
"The sky rather than the land began to interest me as the most dynamic and symbolic representation of the Houston landscape. Coincidentally I began taking flying lessons and experiencing this new dimension in a unique way. The Stargazing paintings are the result of this shift of attention. Perpetual dusky light over the city means that stars, those most romantic of symbols, are seldom seen, and stargazing is futile."
*
If only there were no boundaries. She is thinking, If only. And then Chloe faints.
"Cities"
by
Richard Chiem
*
"The Long Tomorrow"
written by Dan O'Bannon
illustrated by Moebius
(1976)
*
Anne Truitt
*
Give a house the form of an event.
Relate it to something there, a form of compassion.
Your point of view is: it’s solid already, so there’s warmth.
"Permanent Home"
by
Mei-Mei Berssenbrugge
*
Ed van der Elsken
*
Antonio Murado on his paintings
*
Randy Twaddle
*
Gavin Bryars - "The Sinking of the Titanic"
*
There is a table.
There is a gun.
There is an old elevator with greasy black doors. There are no patterns to these objects. In the dark, the tunnels are real because she makes them so; there is nothing about them other than layers and layers of obscuring black, like folds of night. She is very, very far away from anything. She is in an idea that also happens to be a place.
There is Andy, so pale he is already a ghost.
"10/40/70 #36: I Shot Andy Warhol"
by
Nicholas Rombes
*
Drew Beckmeyer
*
"night time in the satanic bedroom "
by
m kitchell
a poemformance
by
Blank White
*
Art Sabotage is the dark side of Poetic Terrorism--creation- through-destruction--but it cannot serve any Party, nor any nihilism, nor even art itself. Just as the banishment of illusion enhances awareness, so the demolition of aesthetic blight sweetens the air of the world of discourse, of the Other. Art Sabotage serves only consciousness, attentiveness, awakeness.
T. A. Z.
The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism
by
Hakim Bey
*
Jeff Huntington
*
Sean Kilpatrick
reading from
Anatomy Courses
by Sean Kilpatrick and Blake Butler
[Two Angles]
*
1. Stupidity
2. Pretentiousness
3. Solipsism
4. Self-deceit
5. Herd Conformity
6. Lack of Perspective
7. Forgetfulness of Past Orthodoxies
8. Counterproductive Pride
9. Lack of Aesthetics
"The Nine Satanic Sins"
by
Anton Szandor LaVey
*
Chad Wys
*
Imagine our little Eden, our closed whole; pure in its rhythm of eternal return. So long a looping feedback of death and birth, reaffirmation, reinforcement – set loose like burst and flailing hoses. New forms gush out, and the old sink in their deluge. Suddenly there is growth and change, history and ruin.
Our own creations outpace us, turn and confront us, and we dream of the rest that never was.
"The Animal Imperfect: More, Wells & Miéville"
by
Rhys Williams
*
The Antlers - "East River Berlin Wall"
directed by Lydia Roberts
*
Billy Plummer
*
Mariana Castillo Deball
*
She acquiesced of course, because she did not want to make waves. She had found it is easier to agree, to slip through the cracks and disguise any desires of her own, than to retrieve herself and go about the tremors and terrors of existence. She offered herself up as a sacrifice, only slightly used.
“HE TOOK HER AS HIS WIFE”
BY
KATE ZAMBRENO
*
Kirsty Whiten
*
Karla Read
*
THOSE CRAZY INSIDES
by Ben Wheele
*
Accelerationist aesthetics is cartographic at the expense of the mimetic. It’s tasked with helping us trace the slippery contours of the warped and warping world we traverse daily, the seemingly infinite and tangled networks we are plugged into, the non-spaces we inhabit and the subjective modulations they produce, the invisible forces that sway us one way and then another.
"Notes on the Inorganic, Part II: Terminal Velocity"
by
Gean Moreno
*
pixelated fashion
by
kunihiko morinaga of anrealage
*
Felice Varini
*
Matthew Bourbon
*
scrim of the cicadas’ clock’s
second hand ratcheting stiffly around
dog in the distance barks
once then is silent once
is not barking but just
from Revelator
by
Ron Silliman
*
Jorinde Voigt
*
Shannon Sullivan
*
Jehanne-Marie Gavarini
*
Mourning Coup - LIGHT HOUSE
Video & Music by Chandra Melting Tallow
Shot partially on location in Arambol, Goa with Erica Wilk
*
David Willburn
*
John Oliver Lewis
*
Reto Pulfer
*
Samuel Bradley
*
Jessica McCambly
*
Art "allows for an absolute and genuinely transformative liberation-expression, precisely because what it liberates is nothing other than the liberating itself, the movement of pure spiritualization or dematerialization" (Hallward 122): what has to be liberated is ultimately liberation itself, the movement of "deterritorializing" all actual entities. This self-relating move is crucial - and, along the same lines, what desire desires is not a determinate object but the unconditional assertion of desiring itself (or, as Nietzsche putr it, the will is at its most radical the will to will itself).
"Deleuze and the Lacanian Real"
by
Slavoj Zizek
*
"FRIENDSHIP" by MASON PROPER
Dir. by Hott Garbage
*
Uncle Allan
*
Quenton Miller
*
Federico Carbajal
*
Kate Durbin reads 'Lindsay Lohan Arrives at Court' at Multi-Kulti in Chicago 3/3/12
*
Jackie Tileston
"A re-reading of Foucault’s 1967 Of Other Spaces - Heterotopias essay was a recent inspiration since it perfectly defined the intent of much of my current work - to create paintings in which several different locations or spaces are made to coexist within one space. Ideas about how we construct our realities and selves through language, social structure, geography, and belief feed into this desire to juxtapose sites and images that might themselves be somewhat incompatible. My work as a painter is to knit the world together in a kind of visual globalism."
*
Garland Fielder
*
their whittled madness a translation of some queerly haunted girl in the crooked process of straightening
"Fly Glaze Horse"
by
Gary J. Shipley
*
J. Bennett Fitts
*
JACOB EL HANANI
*
Jules Massenet's opera Manon
Anna Netrebko & Roberto Alagna - Act 2
*
Janaki Lennie
"The sky rather than the land began to interest me as the most dynamic and symbolic representation of the Houston landscape. Coincidentally I began taking flying lessons and experiencing this new dimension in a unique way. The Stargazing paintings are the result of this shift of attention. Perpetual dusky light over the city means that stars, those most romantic of symbols, are seldom seen, and stargazing is futile."
*
If only there were no boundaries. She is thinking, If only. And then Chloe faints.
"Cities"
by
Richard Chiem
*
"The Long Tomorrow"
written by Dan O'Bannon
illustrated by Moebius
(1976)
*
Anne Truitt
*
Give a house the form of an event.
Relate it to something there, a form of compassion.
Your point of view is: it’s solid already, so there’s warmth.
"Permanent Home"
by
Mei-Mei Berssenbrugge
*
Ed van der Elsken
*
Antonio Murado on his paintings
*
Randy Twaddle
*
Gavin Bryars - "The Sinking of the Titanic"
*
There is a table.
There is a gun.
There is an old elevator with greasy black doors. There are no patterns to these objects. In the dark, the tunnels are real because she makes them so; there is nothing about them other than layers and layers of obscuring black, like folds of night. She is very, very far away from anything. She is in an idea that also happens to be a place.
There is Andy, so pale he is already a ghost.
"10/40/70 #36: I Shot Andy Warhol"
by
Nicholas Rombes
*
Drew Beckmeyer
*
"night time in the satanic bedroom "
by
m kitchell
