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    12-Apr-2015

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Issue #1

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Dazzling Colors Several weeks ago a nearby schools (Lehigh University, to be exact) art department held an exhibition commemorating the Abstract Expressionist movement. The exhibition, which was dominated by the work of students like myself, was held at the nearby Banana Factory (Bethlehem, PA) and also included contributions from resident and local artists. Amongst the standard fare were such innovatively obsolescent works as paintings to be viewed using 3-D glasses (Hallucinogen Persisting Perception Disorder, anyone?), canvases that are completely blank with the exception of a single black point in the middle, etc, etc. Yours truly, Thomas Evans even contributed his own piece with the intention of defacing it in the midst of the exhibition: a medium sized canvas pictured to the left of this paragraph. I managed to get about five good sized streaks of a Sharpie King Size marker across the surface of the painting before I was politely removed by one of the (certainly unexpected) ushers adorning the various hallways of the otherwise unpretentious building. After explaining to them that it was in fact my painting and that I was now going to re-enter the room and proceed with my defacement, they attempted to confiscate my Sharpie. I refused, they threatened to call the cops and I left. Im fairly certain one of the resident artists with whom I am an acquaintance is currently in possession of the (semi-beautified) painting. Regardless, I have yet to retrieve it.

www.zappa.com He Had to Die Sometime Well, like Les Claypool and Iggy Pop, Frank Zappa is certainly dead. Anyone can tell it just by looking at the ZFT (Zappa Family Trust) run website, www.zappa.com Rather than what we can only imagine Mr. Zappas use for a web-based platform would be, (campaign contributions, perhaps a live feed of his compositional activity, podcasts? Speculation is useless), we are left with an avenue for extended commercial publicizing. Nearly every tab on the site (and there are over 10) leads to information that essentially constitutes advertising and occasionally the executors (Mrs. Zappa, I presume?) thoughts upon a particular topic, thoughts that have a tendency to moralize the self-promotion. Does this accurately serve the function of disseminating what is in certain peoples opinion the work of a great composer to a generation(s?) that in certain respects could probably use to hear it? I began listening to Zappa at age 7. At age 17 I am now (when compared with the existing society) successfully deranged. Perhaps we need more of that, rather than Freak Out t-shirts and an endless stream of re-mixed material straight from the (probably catacomb-scale) vaults?

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Affective Terrorism and The Spectacle The other day I overheard several of my Calc I classmates discussing the Boston bombing and the Sandy Hook Massacre, etc, backlit against the general history of such events. The conversation was completely unremarkable save for its closing lines concerning Dzhokhar Tsarnaev, the only surviving suspect in the recent bombing of the Boston marathon, which were roughly along the lines of His only chance to survive a death penalty sentence is 24/7 solitary confinement. Even the worst of our worst prisoners would want to exact revenge upon this dirtbag. And theyll start with his A-S-S-H-O-L-E, his friend said, at which point I somewhat caustically interjected, And what would happen to you in prison? To which he offered his response: Im not stupid enough to do anything to get me sent to prison, so its not like it matters. I mentioned this conversation, more or less equitable with Orwells reportorial commentaries on Hate Week, for a reason: namely, I believe it demonstrates several important things: (1) that the individuals sponsorship of political violence mirrors the states monopoly thereupon, (2) that this is indicative of the individuals codification within the concept of citizenship as having taken a paradoxical ly lopsided and yet symmetrical form (with content negated, hence the lopsidedness) and (3) that the pleas for rape, torture and an expedient murder of those identified as reasonably suspect or guilty of such acts themselves are instances of a freshly baked suicidal impulse- the attempt to incarnate the death drive as a phenomenon external to oneself, a phenomenon that one controls and is as such the actual phenomenon of an expression of the desire for suicide inverted- that is to say, the desire to end ones own life (the periodization of an individually selected ensemble of commodities and ideologies) projected onto another individual as a murderous impulse[1]. For our society the individual is negative and the collective positive, reality is of course opposite this And it is here that we approach the truly spectacular answers to Marxisms sociopolitical inquiries: that (c.f. the consciousness of) the economic crisis of capitalism, upon which wrote George Lukacs was hinged the fate of [proletarian] revolution and thus the fate of mankind, is the realization of the spectacle, the autonomous economy. What Lukacs didnt write, and indeed could not write, was that the realization of the spectacle is the supersession of dialectical materialism- the realization and suppression of a synthesized idealism and materialism, which cleverly took the form of a universal material expression of the poverty of a realized idealism. Furthermore, Marxism itself is the ideological negation of history, hinged upon a theory of labor value that fails to correctly theorize labor and the value thereof and thus conceptualizes labor and reduces itself to a hypothesis whose relevance is contingent upon its historical invalidation[2]. The spectacular representation of public massacre is the glorification of a few cumulative instances appearing as concentrated expressions of the violence of the existing order, which is in and of itself a prolonged massacre occurring on the scale of the international populace. Psychopathology, depression,

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suicide and homicide, are themselves natural reactions to existence within a concentration camp disguised by means of vast technical proficiency/advancement as a utopia. Psychoses are themselves a violent expression of the indelibly impressed separation that is the universal product of the spectacle. As school and in general public shootings increase in both frequency and scope, the criminal justice/defense industries have sprouted upon the all too epidermal surfaces of their tentacles the suction cups of an illusory, non-existent security, selling it in the form of ideology and real material product to a diverse group of stupefied, hyper-paranoid and anesthetically ravaged human beings intent upon lapping up whatever form of narcotic spills into their laps at any given moment. The eternal present has become an eternal terror through which the strong-armed apparatus of the spectacle, the state, is strengthened beyond the point of totalitarianism. This strengthening is itself the natural evolution of unmediated economic dominance to an unmediated, totally penetrative, metastasis of an imputed, unreal consciousness- that of the bourgeoisie- appearing as life to such an extent that the spectacular representation of death is the life of a vast majority of human beings (the proletariat). This violence is metaphysical reality- i.e. the core of a general unreality- and the unity (which is nothing more than total separation in the manner of a Frankenstein passing by a 6MeV betatron) it presupposes is mechanized ideologically in the militarization of unconsciousness, which is ultimately nothing other than the abstract representations of power arming itself against its total existential enemy, which by virtue of its existence is itself. The objective laws of nature to which capitalism was previously viewed by and for capitalists as a logical investment of mans individual freedoms into an economy designed to proliferate those same freedoms by way of the internal contradictions giving rise to these views of unreality are, in terms of their phenomenological sensation of the totality, the ligature that is reified existence. Which is to say that the spectacle in its current total incarnation is nothing other than the realization of an illusorily supra-objective view of social reality otherwise known as Absolute Knowledge, dictatorship of the proletariat, etc. Securitization(s) of consumption and production as the means of social domination are nevertheless occurring (and have been for quite some time) and it is this securitization that facilitates the evolution of separation in ways irrecoverable save for a few key instances. The actual psychological basis for such actions as well as their representation (and the behavior of those who revel in such representation, be it in the form of pity, shame, anger, or any other indirect participation) lies within the unconscious awareness of the poverty of life manifesting itself as exceptionally intense concentrations of shame and despair that, given the conditions of existence-as-spectator, are substituted for individual

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identity and subsequently (in all non-violent cases) constitute the flip-side of this situation, which is the passive expression of the indelibly impressed separation that is the universal product of the spectacle. This unconscious awareness is in other words an awareness of the destruction of language experienced as a form of sexual abuse, and this divisive distribution of supposedly individual psychological phenomena across a wide spectrum and allegedly diverse swath of society is a natural development of the generalized state of schizophrenic-autism that citizenship has come to so closely resemble. The Others, April 2013, Bridgewater, NJ End Notes

[1] Within the protective custody cells otherwise known as civilized countries, endless variegations of thedeath drive are consistently the only terms in which individuality is propagated. This makes (slightly) more sense when we consider the resemblance of so-called first-world countries - nations where the unreality of freedom is represented as the ideal commodity (as it contains within itself a perfect ideology delitesced beneath layer and layer of perpetually differentiated ideological tissue) - to an individual diagnosed with moderate to severe Schizotypal Personality Disorder. Rather than elaborate upon this point, which is certainly not necessary (if more information is desired, however, Joseph Gabels False Consciousness: An Essay on Reification and Deleuze and Guattaris Anti-Oedipus are highly recommended), we would prefer to state that the behavior of nation-states overwhelmingly composed of spectators and (indirectly) attentive to the continuously uninterrupted manufacture thereof is intrinsically fascist (here, Wilhelm Reichs The Mass Psychology of Fascism is recommended). [2] These and other such unsafe hinges are discussed at length by Cornelius Castoriadis in his 1973 essay The Question of the Workers Movement and succinctly illustrated by Bill NOT BORED in his essay Strangers in the Night. Document URL: http://www.notbored.org/strangers.htm

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Theory of An Anarchist Critique of Political Economy 1 It is useful to think of the modern phase of capitalism as having not only agglomerated the surface of the globe, but- in very much the manner of a concrete inversion- as having engulfed, in the sense of a tectonic barbarism, the entirety thereof. Thus, at the core of the globe, there exists the proletariat and its historical antagonist the bourgeoisie: subject of mantle, crust and atmosphere. As the lower mantle, we have the spectacle, the upper the hyper-reality- that is, the continued refinement of the perfect separation that constitutes the spectacle as having undergone an evolutionary development with regards to the nature of this perfection. As the material within the upper mantle, we have the commodification of the totality of abstract representation constituting the delegation of the spectacle to the level of individual phenomenon whence the individual is reduced to a string of commodified code (in terms of behavior as subject to a wider programming within the framework of a conduit totality interactively representing the negativetautology of a commodified hermeneutics). The most astounding aspects of the spectacle are its capacity to colonize that which it creates (i.e. human nature), and its capacity to appear as creating when it is in fact simply recomposing and destroying. In so far as all that is good appears, and all that appears is good, that which is capable of being radically reinvented and those who are capable of such radical reinvention (the masses, you and I), do not exist beyond the content and form of unrealized potential and thus cannot negate appearance through our appearance, and so we never appear. So long as one is born of the commodity, death is orgasm is death is rebirth. The spectacle in essence is the imagistic equivalent of our planet, a large body of matter gravitating about a larger body of matter, deforming in its wake space and time, whose total existence and place in this rotation is completely random and unnecessary. Likewise, our position as inhabitants of this anti-necessity is to unnecessarily and randomly mirror its enslavement to the larger body of matter, whose position as master is equally an enslavement, for it is fixed to exist until it too inverts its function upon itself. In concrete terms, there is of course no such thing as a master or slave; they are both subjective lenses through which the same objective relationship (subjugation to the anthropophysi-colonizing forces of the non-living) is viewed- in this case, the proletariat as master and capitalism as the slave. 2 As the active negation of activity, of history, of consciousness, the material within the oceanic crust as the entire field encompassing the totality as the perfect-representation of the hyper-reality in which the dissimulated exists only to dissimulate; historical reality comprises the continental crust: a virgin historical activity upon the uttermost alien terrain of the capital-globe. In relation to and consideration of this metaphor, it is useful to note the objective universality of historical necessity as essentially constitutive of the core, and of this objective universality as a fundamental property. Whereas the Earth is a unified mass, this metaphor expresses a world in which the complexity of separation has encapsulated all forms, categories and dispositions of existence, so that within the hyper-reality the root of man is separation from man. This is not new. The function of the integrated spectacle is to manipulate vast technical innovation so as to perpetually compactify the dimensions of man by perpetually complexifying the nature of this separation.

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3 The hyper-reality is the material equivalent of what certain bourgeoisie idealists, such as Amidon, have proposed ideologically in terms of a knowledge-economy, which is to say the spectacular production of knowledge that reinforces the concretization of the economy in all sectors of material and technical development. Within this context, desires are theoretical reflections of the spectacles overriding negationism, which is within the context of the hyper-reality essentially ideological. The hyper-reality as a knowledge-economy is perpetuated by the unilateral communicative modalities engendered by the spectacle, which now amount to a perpetual unconscious surveillance of unconsciousness. 4 The hyper-reality has absolutely nothing to do with the writings of inept theorists such as Baudrillard (his responsibility for the term notwithstanding). The hyper-reality is the hyper-production and hyper-reproduction of the subject as such, the production of a society that is based upon an inordinate number of class-based social relations comprising nodules of subjection that manifest themselves in the same manner as pixels on the screen of an electronic billboard.

5 Anarchy is the consciousness of reality: that which is my historical position as well as myself; something abstract, but concretely moving within my experience and life; in which the sole necessity of existence is existence. Anarchy is the activity through which mans consciousness originates history. Anarchism is a non-doctrine, a strictly ideological negation of the state, whereas anarchist praxeology holds that insofar as consciousness is suppressed by historical conditions, proletarian movement is necessary. An anarchist critique of political economy is the conscious realization of ones humanity: it is to understand that to be a revolutionary is to be a human being, and that to be a human being is to be a sentient organism willing to take responsibility and accountability for his/her thoughts and actions. The program contained within this definition is more suitable than any blend of ideology as it is quite simple and concise- to be opposed to the dominant order and in practical favor of

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its disintegration is to cultivate your humanity, it is to desire a consciousness of your historical position and work towards the realization of that position, it is to acknowledge the reality of your desires as your own and free yourself from all those that are not, it is to exist as a being that consistently and unfailingly supersedes the confines of its initial, perpetual existence, quite literally it is to be a human. Anyone who has read any history at all and can make a plausible claim to consciousness should be able to see why this is revolutionary- the mere existence of a human being given the historical circumstances is itself the fullest positive advocacy of totalizing social revolution imaginable. We must live the critiques we cannot write. 6 All hitherto preceding history is the history of the suppression of anarchy, which is to say of the consciousness of reality. History makes no movement beyond the will of its inhabitants, and the will of its inhabitants is the determination of the nature which it cohabitates subsequent to its creation. To be an anarchist is to move to revolutionize history.

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Some Comments Designed To Test The Waters of a Group Therapy Session What are desires? The spectacle inherently alienates individuals from their sexuality, I know this first hand; I am a homosexual, perhaps I am a bisexual, perhaps I seek to be a female or male identifier, I feel so naturally, in fact, to attempt to feel otherwise is to constitute nothing more than a cheap imitation of my Self. The commodification of sexuality renders sexuality a concentration of desires that cannot be realized, only intimated, as for the spectacle realization is consumption. Reality is consumption; consumption is reality. As with life sexuality becomes a latent factor of existence, another aspect of its total suppression, which is to say a totalizing ideological force. Pornography serves a purpose, and that is the eliciting of the intimacy of desire and cruel juxtaposition of the conscious activity, which desires provoke within a human being with the unconscious activity of consumption. For the spectacle, the visual is essentially pornographic, and for the spectator society extends before him infinitely and timelessly, as with the visual field. This field is essentially the total set of all permutations of subjugation manifest as immediately recuperated desire. The reduction of the fe/male to an image of sexual objectification is the reduction of sexuality to a pathetic commodified objectification. To be completely honest with you, there is no such thing as fucking sexual orientation; there is no such fucking thing as sexuality. Sexuality is an activity rooted within a network of socially and environmentally contingent desires. The definition and specifically treatment of desire terminologically (and consequently as a meta-teleology) is a product of the spectacle, the basis of such terminology is the conformal evolution of the totality in accordance to the development and growth of the spectacle. The critique of pornography that fails to account for the illusion of gender as a fixture of the suppression of individuality, and this suppression as a fixture of the dominant mode of capitalist production, is itself pornographic. As far as sexuality is concerned, nothing is correct; EVERYTHING is permitted Again, there are only fucking desires. It is only in a revolutionary context that sexuality can be understood and realized by and for human beings as something other than a mode of control. I can just as easily desire a grapefruit as I can a woman or a man, and this means absolutely nothing. It is not symptomatic of some underlying paraphilia, it does not require clinical treatment, all it means is that I desire a grapefruit, and there is absolutely fucking nothing wrong with that desire. Likewise, I am just as easily a woman when I am with a woman as I am the man whose arms in which she is held as I am a man when I am a man with a man as I am all of these things when confronted with the desire to be any one of these things amongst other things. You got it? Again, NOTHING IS CORRECT EVERYTHING IS PERMITTED.

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The Surveillance Camera Player: Coming Soon To An Area Near You! (If You Happen to Live Somewhere Along Rt. 78/E In NJ, That Is) Recently I discovered the work of the Surveillance Camera Players, a group founded in New York City with (hopefully) many offshoots across the globe that is dedicated to creatively protesting the proliferation of surveillance-oriented devices (people are surveillance cameras too!) and the destruction of privacy caused as a result of such proliferation. Ive taken to creating a map of all surveillance cameras throughout a 40 mile stretch of Interstate-78, mostly because I travel through this area on a near daily basis and having a fairly comprehensive knowledge of surveillance within this area would assist in my presentations of, well, whatever works I choose to present. Currently Im planning on directing my activity throughout Princeton Twp, preferably somewhere on Nassau St, as there are a preponderance of cameras located throughout this area and a large amount of otherwise unsu specting passerby. Ive recently prepared a script for William Burroughs The Ticket That Exploded, although I have yet to begin work on the extensive illustrations/poster-board write-ups required in order to prevent the bastardization of the work. Im pla nning on wearing a bowler hat, a pig mask, a life jacket covered in Fluff (the foodstuff) on which is attached via duct tape a transistor radio and jeans, also covered in duct tape, for my role of.... all the characters! Unfortunately, there is only one of me, hence The Surveillance Camera Player. If anyone reading this is sympathetic to my aims and wishes to get involved in any way whatsoever, thatd be great! You can contact me at thenameofthisfanzineiscensored@gmail.com.

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