Wednesday, July 26, 2006

Do not question the cause of death!

The war of choice materialized by a process of sexual alchemy planed for years in the dirty bowels of the Book of Anti-Pleasures, pulling down of the pants of false consciousness:
"As smoke-clouds quelled the stars I thought about the secret weapons."
Directed energy...?
"I assume that it will go on for a few more weeks," he said. "And in a few more weeks, I believe we will be able to put an end to this operation -- a successful end. I mean, this resolution is all about trying to find a direction towards peace, but first in the short term, stop the violence. "
Know what you're going to attack.

A new universe begs to be created out of the objects remaining:

"Everything tends to make us believe that there exists a certain point of the mind at which life and death, the real and the imagined, past and future, the communicable and the incommunicable, high and low, cease to be perceived as contradictions."


This manifesto was written by Andre Breton and Leon Trotsky in Mexico in the late 1930s. Diego Rivera, who later succumbed to Stalinism, was a co-signatory.

We can say without exaggeration that never has civilization been menaced so seriously as today. The Vandals, with instruments which were barbarous, and so comparatively ineffective, blotted out the culture of antiquity in one corner of Europe. But today we see world civilization, united in its historic destiny, reeling under the blows of reactionary forces armed with the entire arsenal of modern technology. We are by no means thinking only of the world war that draws near. Even in times of "peace" the position of art and science has become absolutely intolerable.
Insofar as it originates with an individual, insofar as it brings into play subjective talents to create something which brings about an objective enriching of culture, any philosophical, sociological, scientific or artistic discovery seems to be the fruit of a precious chance, that is to say, the manifestation, more or less spontaneous, of necessity. Such creations cannot be slighted, whether from the standpoint of general knowledge (which interprets the existing world), or of revolutionary knowledge (which, the better to change the world, requires an exact analysis of the laws which govern its movement). Specifically, we cannot remain indifferent to the intellectual conditions under which creative activity takes place, nor should we fail to pay all respect to those particular laws which govern intellectual creation.
In the contemporary world we must recognize the ever more widespread destruction of those conditions under which intellectual creation is possible. From this follows of necessity an increasingly manifest degradation not only of the work of art but also of the specifically "artistic" personality. The regime of Hitler, now that it has rid Germany of all those artists whose work expressed the slightest sympathy for liberty, however superficial, has reduced those who still consent to take up pen or brush to the status of domestic servants of the regime, whose task it is to glorify it on order, according to the worst possible aesthetic conventions. If reports may be believed, it is the same in the Soviet Union, where Thermidorian reaction is now reaching its climax.
It goes without saying that we do not identify ourselves with the currently fashionable catchword: "Neither fascism nor communism!", a shibboleth which suits the temperament of the philistine, conservative and frightened, clinging to the tattered remnants of the "democratic" past. True art, which is not content to play variations on ready-made models but rather insists on expressing the inner needs of man and of mankind in its time - true art is unable not to be revolutionary, not to aspire to a complete and radical reconstruction of society. This it must do, were it only to deliver intellectual creation from the chains which bind it, and to allow all mankind to raise itself to those heights which only isolated geniuses have achieved in the past. We recognize that only the social revolution can sweep clean the path for a new culture. If, however, we reject all solidarity with the bureaucracy now in control of the Soviet Union, it is precisely because, in our eyes, it represents, not communism, but its most treacherous and dangerous enemy.
The totalitarian regime of the USSR, working through the so-called cultural organizations it controls in other countries, has spread over the entire world a deep twilight hostile to every sort of spiritual value. A twilight of filth and blood in which, disguised as intellectuals and artists, those men steep themselves who have made of servility a career, of lying for pay a custom, and of the palliation of crime a source of pleasure. The official art of Stalinism mirrors with a blatancy unexampled in history their efforts to put a good face on their mercenary profession.
The repugnance which this shameful negation of principles of art inspires in the artistic world - a negation which even slave states have never dared to carry so far - should give rise to an active, uncompromising condemnation. The opposition of writers and artists is one of the forces which can usefully contribute to the discrediting and overthrow of regimes which are destroying, along with the right of the proletarian to aspire to a better world, every sentiment of nobility and even of human dignity.
The communist revolution is not afraid of art. It realizes that the role of the artist in a decadent capitalist society is determined by the conflict between the individual and various social forms which are hostile to him. This fact alone, insofar as he is conscious of it, makes the artist the natural ally of revolution. The process of sublimation, which here comes into play and which psychoanalysis has analyzed, tries to restore the broken equilibrium between the integral "ego" and the outside elements it rejects. This restoration works to the advantage of the "ideal of self", which marshals against the unbearable present reality all those powers of the interior world, of the "self", which are common to all men and which are constantly flowering and developing. The need for emancipation felt by the individual spirit has only to follow its natural course to be led to mingle its stream with this primeval necessity - the need for the emancipation of man.
The conception of the writer's function which the young Marx worked out is worth recalling. "The writer", he declared, "naturally must make money in order to live and write, but he should not under any circumstances live and write in order to make money…..The writer by no means looks on his work as a means. It is an end in itself and so little a means in the eyes of himself and of others that if necessary he sacrifices his existence to the existence of his work…..The first condition of the freedom of the press is that it is not a business activity." It is more than ever fitting to use this statement against those who would regiment intellectual activity in the direction of ends foreign to itself, and prescribe, in the guise of so-called reasons of state, the themes of art. The free choice of these themes and the absence of all restrictions on the range of his exploitations - these are possessions which the artist has a right to claim as inalienable. In the realm of artistic creation, the imagination must escape from all constraint and must under no pretext allow itself to be placed under bonds. To those who urge us, whether for today or for tomorrow, to consent that art should submit to a discipline which we hold to be radically incompatible with its nature, we give a flat refusal and we repeat our deliberate intention of standing by the formula complete freedom for art.
We recognize, of course, that the revolutionary state has the right to defend itself against the counterattack of the bourgeoisie, even when this drapes itself in the flag of science or art. But there is an abyss between these enforced and temporary measures of revolutionary self-defense and the pretension to lay commands on intellectual creation. If, for the better development of the forces of material production, the revolution must build a socialist regime with centralized control, to develop intellectual creation an anarchist regime of individual liberty should from the first be established. No authority, no dictation, not the least trace of orders from above! Only on a base of friendly cooperation, without constraint from outside, will it be possible for scholars and artists to carry out their tasks, which will be more far-reaching than ever before in history.
It should be clear by now that in defending freedom of thought we have no intention of justifying political indifference, and that it is far from our wish to revive a so-called pure art which generally serves the extremely impure ends of reaction. No, our conception of the role of art is too high to refuse it an influence on the fate of society. We believe that the supreme task of art in our epoch is to take part actively and consciously in the preparation of the revolution. But the artist cannot serve the struggle for freedom unless he subjectively assimilates its social content, unless he feels in his very nerves its meaning and drama and freely seeks to give his own inner world incarnation in his art.
In the present period of the death agony of capitalism, democratic as well as fascist, the artist sees himself threatened with the loss of his right to live and continue working. He sees all avenues of communication choked with the debris of capitalist collapse. Only naturally, he turns to the Stalinist organizations which hold out the possibility of escaping from his isolation. But if he is to avoid complete demoralization, he cannot remain there, because of the impossibility of delivering his own message and the degrading servility which these organizations exact from him in exchange for certain material advantages. He must understand that his place is elsewhere, not among those who betray the cause of the revolution and mankind, but among those who with unshaken fidelity bear witness to the revolution, among those who, for this reason, are alone able to bring it to fruition, and along with it the ultimate free expression of all forms of human genius.
The aim of this appeal is to find a common ground on which may be reunited all revolutionary writers and artists, the better to serve the revolution by their art and to defend the liberty of that art itself against the usurpers of the revolution. We believe that aesthetic, philosophical and political tendencies of the most varied sort can find here a common ground. Marxists can march here hand in hand with anarchists, provided both parties uncompromisingly reject the reactionary police patrol spirit represented by Joseph Stalin and by his henchman Garcia Oliver.
We know very well that thousands on thousands of isolated thinkers and artists are today scattered throughout the world, their voices drowned out by the loud choruses of well-disciplined liars. Hundreds of small local magazines are trying to gather youthful forces about them, seeking new paths and not subsidies. Every progressive tendency in art is destroyed by fascism as "degenerate". Every free creation is called "fascist" by the Stalinists. Independent revolutionary art must now gather its forces for the struggle against reactionary persecution. It must proclaim aloud the right to exist. Such a union of forces is the aim of the International Federation of Independent Revolutionary Art which we believe it is now necessary to form.
We by no means insist on every idea put forth in this manifesto, which we ourselves consider only a first step in the new direction. We urge every friend and defender of art, who cannot but realize the necessity for this appeal, to make himself heard at once. We address the same appeal to all those publications of the left wing which are ready to participate in the creation of the International Federation and to consider its task and its methods of action.
When a preliminary international contact has been established through the press and by correspondence, we will proceed to the organization of local and national congresses on a modest scale. The final step will be the assembly of a world congress which will officially mark the foundation of the International Federation.
Our aims:
The independence of art - for the revolution.
The revolution - for the complete liberation of art!

Tuesday, July 25, 2006

"Blindfolded by the Mystery of Existence"
Poetic Object by H.A.R.L.

Monday, July 24, 2006

Mirrored Hornets

By Dale Chihuly, at the Missouri Botanical Garden

Saturday, July 22, 2006

Image by Robert Cenedella

"I would warn you that I do not attribute to nature either beauty or deformity, order or confusion. Only in relation to our imagination can things be called beautiful or ugly, well-ordered or confused."


"When you say that if I allow not in God the operations of seeing, hearing, observing, willing, and the like... you know not what sort of God mine is, I thence conjecture that you believe there is no greater perfection than such as can be explained by the attributes aforesaid. I do not wonder at it; for I believe that a triangle, if it could speak, would in like manner say that the divine nature is eminently triangular, and a circle that the divine nature is eminently circular; and thus would every one ascribe his own attributes to God."


"Thus I have completed all I wish to show concerning the power of the mind over emotions, or the freedom of the mind. From which it is clear how much a wise man is in front of and how stronger he is than the ignorant one, who is guided by lust alone. For an ignorant man, besides being agitated in many ways by external causes, never enjoys one true satisfaction of the mind: he lives, moreover, almost unconscious of himself, God, and things, and as soon as he ceases to be passive, ceases to be. On the contrary the wise man, in so far as he is considered such, is scarcely moved in spirit; he is conscious of himself, of God, and things by a certain eternal necessity; he never ceases to be, and always enjoys satisfaction of mind. If the road I have shown to lead to this is very difficult, it can yet be discovered. And clearly it must be very hard when it is so seldom found. For how could it be that it is neglected practically by all, if salvation were close at hand and could be found without difficulty? But all excellent things are as difficult as they are rare."

Friday, July 21, 2006

Photo By Anonymous Photographer 1926


Thursday, July 13, 2006


Up-rooting my previous existence, tapping on feltcovered hides, sharpening vulgar membranes over steaming pots... grasping the un-graspable as the windows are all cloudy, misty like mistakes made, always a little sooner than one thought, always a little deeper... sharp electrical waves shoot through the dark... all entities are silent, every being hides... the darkness speaks alone... like the shell of a man, I vacate my body... hides... waiting... in the net.

In a dream:
"Something is stuck in the vent?" He walks into the stainless steel tank... the maintenance-man comes out with a wet, sad-looking wig in his hand. "...and the pool was open all this time?"

Morning breaks, clearing - aletheia - how beautiful is the dawn not after a storm?
I ask myself in the clearing held open by chance: How to not make mistakes when the mind is racing? I err all the time when in a state of hightened clairvoyance. Why I ask, probably due to an ingrown sense of sadder self, of incapacitated awareness of the Other, of excessive transgressive insect-imagination or a terrible sense of futility in actions aborted? If the mind simulates the event before it happens, the action as it occurs will seem dull, meaningless. All thinking is old. To think ahead is to kill the beast. The beast is reality in its actuality, in its ferocious poetic brilliance. To be human is to err consequently, because we think. Complicated it is to communicate and love at the same time, to adhere and uphold. Pendulum-swings away, always comming back, the time we feel gripping us is the event-horizon - a subtle vibration in the net.

Coincidenta Oppositorum


Wednesday, July 12, 2006

01/06/46 - 07/07/06

Monday, July 10, 2006


"Ants & Lips"


Sunday, July 9, 2006

Prologue to the fructification of the Tellus within

The physical world, according to quantum mechanics, is "not a structure built out of independently existing un-analyzable entities, but rather a web of relationships between elements whose meaning arise wholly from their relationship to the whole."

In a mad dream last night there appeared a strange vision:
Magma, glowing magma, erupted suddenly as out of nowhere out from a dormant belly covering the earth: It was the ancient Cannibal Mother poised as the earth-body, now talking to me, erotic as the flux of fiery being, codified in elliptical arrays throughout the menancing substance all around and as the personified eclipse of symbolic language, she said in a thunderous voice:
"To the noble illuminaries of finite existence - turn your gaze around. Eat my reflected words in the temporal light of the invisible mirror... see the mirror of my body... mirrors sowed in spectral futures, as the lips of night close in on you, covering your body with the saliva of my past."
In the dream I then replied revolted:
"I shit on you thus, dear mother archontes: With reverent devotion ardently I pray to the Infinite Absence... Ein Soph, deliver me not, do not grant me your salvation in the caverns of your bloodstained earth..."
She cut me off abruptly:
"My supernal sayings will bury you, little human. I have no name.Ancient, I come to you from a forrest of sunday chance. I am your blind spot, the heavy rains in alternating dimensions drowning out your self. Do you have trouble recognizing 'yourself'?"

Starring into the blind spot, I suddenly saw a swarm of insects appeared. Like floating words, or syllables, or letters, they masked the reality as...

  • A parasitical wasp
  • A radiance of illumination
  • A non-seeing child

NO! Night made visible by day...

"It has become that other shell, a planet moving still, in primordial darkness - archontes deep within - to a circle attracted, superior silence broken, adamantine bodies hanged in empty spaces inbetween... I, the emptiness of mind, feel no sky, no night, no day, no prison called home, no dwelling in translucent skeleton-circles..."

Thus go find your own skeleton-key

in the magnetic mud of mind

it's a sumpteous gift sunken deep - like fluttering lips inside your skull: there it's night...

I will impress upon thy mind, the image of sub-conscious subversion: contorted communication fornicating vividly with the iris of the moon in your eye.

Let us begin the the fructification of the inner earth in the subterranean soil of the psyche's intertwined symbols doubled beyond the current exterior epoch. The reverberating distention can not disengage its nodes from the soil-flesh. Concretion ensues. Movement begins. Viberation commenced in the flesh-soil. The symbolic fundamentals exude reverberation.

To gaze upon an ocean alone - invisible insects fluttering by a broken mirror.

A silk-light hypnosis fertilize time. The temporal becomming in a cherub-hydra thus agree, in the swindle of fearful lights, to be lodged as specters copulating in the dark and deep of the empty spaces in between, traveling along the glaring tide of Deus Absconditus - she said:

"The surplus must be dissipated through deficit operations"

Executions beyond fictional fantasies: reality is pure energy!

"You can not see it as it is lodging its immaculate conception in your immediate shadow (as we are all nomads in our heart), a shadow increased by folds, evaginations and invaginations - I have witnessed the nomadic triumph in exile, though not with my sight, as I nourished my own blind spot for years in the belly of the mother, polishing the blindness in spite of the constant drizzle of incomprehensible specks of dust (not just of words) in the soil of thinking. A paradoxical mirror I have become, cracked and sunken into the mind/flesh as presence, as the tell-all of the self-conscious debris pulsating outside my human brain. A blind mirror in the stomach. And in the blind spot I saw myself ascending the base and summit of Apeiron."


fruitless hallucinations
hang salmonlips
of brutality
on my duplicated shoulders

duplicious I stand
I having my freedom
but I do not

neutronbombs neutrons grow
grow nuclear then and now
now is the last time, the end time
time the latest news about the war crisis
the war called with triumphant crisis cries
the third, I know better: it is the fourth

or fifth, so my body is dead and my flesh
is dead, new is the flesh mind dead soul deadening
death death brings murmuring songs
of clamouring finality
death death
fruitless hallucination


Wednesday, July 5, 2006

The Ten Major Principles of the Gnostic Revelation
From Exegesis, by Philip K. Dick

The Gnostic Christians of the second century believed that only a special revelation of knowledge rather than faith could save a person. The contents of this revelation could not be received empirically or derived a priori. They considered this special gnosis so valuable that it must be kept secret. Here are the ten major principles of the gnostic revelation:

1. The creator of this world is demented.
2. The world is not as it appears, in order to hide the evil in it, a delusive veil obscuring it and the deranged deity.
3. There is another, better realm of God, and all our efforts are to be directed toward
a. returning there
b. bringing it here
4. Our actual lives stretch thousands of years back, and we can be made to remember our origin in the stars.
5. Each of us has a divine counterpart unfallen who can reach a hand down to us to awaken us. This other personality is the authentic waking self; the one we have now is asleep and minor. We are in fact asleep, and in the hands of a dangerous magician disguised as a good god, the deranged creator deity. The bleakness, the evil and pain in this world, the fact that it is a deterministic prison controlled by the demented creator causes us willingly to split with the reality principle early in life, and so to speak willingly fall asleep in delusion.
6. You can pass from the delusional prison world into the peaceful kingdom if the True Good God places you under His grace and allows you to see reality through His eyes.
7. Christ gave, rather than received, revelation; he taught his followers how to enter the kingdom while still alive, where other mystery religions only bring about anamnesis: knowledge of it at the "other time" in "the other realm," not here. He causes it to come here, and is the living agency to the Sole Good God (i.e. the Logos).
8. Probably the real, secret Christian church still exists, long underground, with the living Corpus Christi as its head or ruler, the members absorbed into it. Through participation in it they probably have vast, seemingly magical powers.
9. The division into "two times" (good and evil) and "two realms" (good and evil) will abruptly end with victory for the good time here, as the presently invisible kingdom separates and becomes visible. We cannot know the date.
10. During this time period we are on the sifting bridge being judged according to which power we give allegiance to, the deranged creator demiurge of this world or the One Good God and his kingdom, whom we know through Christ.

To know these ten principles of Gnostic Christianity is to court disaster.
(now he tells us?)

Tuesday, July 4, 2006

"As living information, the plasmate travels up the optic nerve of a human to the pineal body. It uses the human brain as a female host in which to replicate itself into its active form. This is an interspecies symbiosis. The Hermetic alchemists knew of it in theory from ancient texts, but could not duplicate it, since they could not locate the dormant, buried plasmate. Bruno suspected that the plasmate had been destroyed by the Empire; for hinting at this he was burned. "The Empire never ended." —Phillip K. Dick

Monday, July 3, 2006


Saturday, July 1, 2006

"You have to stand between that horror..."