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Dazzling Colors

Several weeks ago a nearby school’s (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. I’m

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.

Zappa’s 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 people’s 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 they’ll 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: “I’m not stupid enough to do anything to get me sent to

prison, so it’s not like it matters.”

I mentioned this conversation, more or less equitable with Orwell’s 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 paradoxically 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 Marxism’s 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 didn’t 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 the

‘death 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 Gabel’s

False Consciousness: An Essay on Reification and Deleuze and Guattari’s 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 Reich’s 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

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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 negative-

tautology 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.

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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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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.

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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-re-

production 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.

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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

man’s 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.

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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. I’ve 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 I’m 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 unsuspecting passerby. I’ve

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. I’m planning 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, that’d be great! You can

contact me at thenameofthisfanzineiscensored@gmail.com.

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