Sunday, 17 February 2013

100% Animal

100% Human

All space is already occupied by the enemy

Gustave Courbet is one of the leaders of the Commune. He instigates the demolition of Napoleon's statue in the Place de Vendome because it is a symbol of militarism and imperialism. He writes I get up, I eat breakfast, I sit down and preside for 12 hours a day, my head begins to feel like a baked apple. But despite all this unaccustomed turmoil of the head and brain, I’m in a state of enchantment. Paris est un vrai paradis. The poets Paul Verlaine and Arthur Rimbaud are also involved. In the last days of the Commune, Edward Manet draws heartbreaking pictures of the Communards slaughtered at the barricades by the French Army

May 16th 1871 /// to demolish the Vendôme Column

Basic Program of the Bureau of Unitary Urbanism


Saturday, 16 February 2013

electric drawing

schwitters ursonate on electric moneytree


“Wealth inestimable is ever flowing through these workshops, and the hands that have been stained with gold-dust, as likely as not, some day extend themselves in petition for a crust.”

In 1966 Johnnie Williamson pointed to the first translation by Helen MacFarlane of The Communist Manifesto hanging on the wall protected in glass casing.  “A frightful hobgoblin stalks through Europe.  We are haunted by a ghost, the ghost of Communism “ is how she rendered the passage more familiarly known to us as “A spectre is haunting Europe – the spectre of Communism.”  Look into the etymology or the philology of “hobgoblin” and “spectre” and you’ll find the difference between revolutionary intellectual abstraction and the gothic of the peasant’s lore of the commons.  Be that as it may.

herobrine // he is a persn who likes 2 destroy mc worlds

Wednesday, 13 February 2013

O friend. My dear friend, please cough if you are alive.

mourning horses

“Do something undreamed-of,” demanded Khlebnikov, “strictly new, you horses pulling the hearse of the world!”


“The road keeps turning. The turns throw back the highway like a roll of fabric on the counter.

Sunday, 10 February 2013


schwitters /// rainbow column /// anything with a stone

pearl binder

pearl binder

Artists' International Association (AIA
The association's aim was to promote the 'Unity of Artists for Peace, Democracy and Cultural Development'. It also aimed to promote wider access to art through travelling exhibitions and public art projects. The Artists International Association was a response to the social and political conflicts of the 1930s. It embraced all aspects of practice and held a series of group exhibitions. The AIA supported the left-wing Republican side in the Spanish Civil War through exhibitions and other fund-raising activities. The Association was also involved in the settling of artists displaced by the Nazi regime in Germany. Many of those linked with the Association were also pacifists.

An association of left-wing British artists founded in London in 1932 with the aim of achieving ‘the unity of artists against Fascism and war and the suppression of culture’. Originally it was called Artists International, but it added the word ‘Association’ to its name when it was reconstituted in 1935. It continued until 1971, but abandoned its political objectives in 1953, thereafter existing as an exhibiting society. Initially there were 32 members, mainly commercial artists and designers, although they also included the German-born Marxist art historian Francis Klingender (1907–55), who described his work as ‘theoretical and historical studies designed to elucidate the role of art as one of the great value-forming agencies in the social structure and social change’. The first chairman was the industrial designer Misha Black (1910–77), who later played an important role in the Festival of Britain. At the outset the position of the group was avowedly Marxist and its activities included producing pamphlets, posters, and other propaganda material (making use of facilities at the Central School of Art, where one of the founder members, James Fitton (1899–1982), taught lithography). Modern art, with its ‘negation of content’, was viewed with some suspicion as a sign of bourgeois decadence, but after the Association was reconstituted in 1935 it became much less doctrinaire and attracted support from artists working in a wide range of styles. Its exhibition ‘Artists against Fascism and War’ (1935), for example, included work by Robert Medley, Henry Moore, and Paul Nash, and by the end of the Second World War the Association had more than a thousand members. In addition to holding exhibitions, the AIA published a journal (sporadically and under different titles and formats, beginning as Artists International Bulletin, 1934–5) and also a book of essays entitled 5 on Revolutionary Art (1935). This was edited by the sculptor Betty Rea and the five contributors were Eric Gill, the ethnomusicologist A. L. Lloyd, Klingender, Herbert Read who gamely made the case, unpopular in the AIA, for the avant-garde against realism, and the writer Alick West.

Thursday, 7 February 2013

women and parrots IV

Tantalisingly, other sections of the painting may still be at large, including one in which the model’s hand holds a fluttering parakeet, a symbol of eroticism.

Sunday, 3 February 2013

benjamin/ mimetic faculty

“To read what was never written.” Such reading
is the most ancient: reading before all languages,
from the entrails, the stars, or dances. Later the
mediating link of a new kind of reading, of runes
and hieroglyphs, came into use. Its seems fair to
suppose that these were the stages by which the
mimetic gift, which was once the foundation of
occult practices gained admittance to writing
and language.


Rome has many stories of magicians, the necromancers inhabiting the Colosseum described by Vasari, Cagliostro in a house near Trinita di monti, making gems bigger...

The illusionist functions at the moment of distraction.

The coffee boils over.

Anthony Blunt describes the baroque as deception and the pleasure of the discovery of deception.

Friday, 1 February 2013

continent. 2.4 (2013)

“There are no great utopian texts after the widespread introduction of computers,” Fredric Jameson remarked recently, “the last being Ernest Callenbach’s Ecotopia of 1975, where computers are not yet in service.”

Today, instead of utopian texts, we have the free­market deliria of cyberpunk, which assumes that capitalism is itself a kind of utopia of difference and variety. I think this failure of imagination on the left can be attributed to the assumption that computers are enough to “take care” of totalization: that the well­nigh infinite complexities of production on a global scale, which the mind can scarcely accommodate, are mysteriously...resolvable inside the computer’s black box and thus no longer need to be dealt with conceptually or representationally.

The end of the utopian text thus signals for Jameson an end to representation. Or at the very least it indicates that representation—as complicated or flawed as it might be under otherwise normal conditions—has been interrupted and outsourced to another domain entirely.

Laruelle and Art
Alexander R. Galloway
continent. 2.4 (2013): 230–236

*Fredric Jameson, “In Soviet Arcadia,” New Left Review 75 (May­June 2012): 119­127, p. 125.


science is baffled
the terror mounts
victims of weird mist

kill one and two take its place

crawling out of the earth from mile deep catacombs

hidden under the objective forms were carefully crafted strategic maps of US fortifications