TEXTEXTEXTEXTEXTEXT
NON-APOCALYPTIC 3D PRINTED THOUGHTS
/SALVATION+NECESSITY/ Let’s start again, from the beginning, let’s go back to the big bang and re-write what happens next. Poof! Next thing you know you’re looking down at your bipedal human body and you understand that it is a consequence. That’s ok there’s a lot there to work with. We shall take the body, and we shall extract as much information out of it as we can – with cutting-edge technology it is now possible to 3d print our own bodies so that we can observe and dissect them from an objective distance. We shall learn from them – the body will tell us how things are, or how they ought to be. We’ll next 3d print our thoughts (WE HAVE TO MOVE QUICK). They’ll appear small, no larger than the average-sized skull, and very condensed, so we will need magnifying glasses and detailed charts. Why? Well because it’s difficult, edging on impossible, to speak with any amount of precision about what the body, which includes the brain, whose pictorial impressions we have 3d printed above, knows. The magnifying glasses will help us to better see the confusing details, and the detailed charts will not be charts but dances. ‘What do you know?!’ we will ask the body and the brain, ‘because we want to know it too!’ is what we’ll say. Precision is what we’re after. The body, a consequence of the big bang, etcetera, is a great intelligence, but its mysterious silence can no longer be tolerated. ‘We need answers! Help us! You are the only hope we have left!’. And saying that in a raised voice will not be over-dramatic, because this really is critical and we will go extinct unless we figure out where we went wrong. So, these dances that will happen will carry mass amounts of information, and not just jumbled senseless random information, but precise blueprints which will contain within themselves the entirety of the world – from the bang and the expansion of space and the cooling and solidifying and cell division and monkey forefathers and mothers, to language and city planning and nature devastating and the looming apocalypse. The blueprint will be consumed in its own flame.
Then we will begin again, the big bang, expansion, evolution, etc. For a long time, the world will unfold and end in a relatively similar fashion. There will be blueprints in which instead of the big bang banging out the world, it will be god and darkness moving upon the face of the deep, then light, then firmament, then land, then plant, etc, etc. This world will also blow up in apocalypse. This will not stop us, however. We will keep 3d printing our thoughts and the thoughts of others until we discover something that works, some work, something previously unthought of. Throughout the residency we will 3d print thousands upon thousands* of people’s bodies and thoughts – of these, we expect to find at most two blueprints worth keeping. These two blueprints, plan (a) and plan (b), will be the key that the two artist researchers will use to unlock a NON-APOCALYPTIC FUTURE.
AT THIS POINT IN TIME, THAT’S ALL WE’RE LOOKING FOR: NON-APOCALYPSE.
/PROCESS+METHOD/ The two artist researchers will come into the studio and each lie on a metal operating table situated across the room from one another. We will picture a rapidly evolving world and human species. This might take anywhere from between 15 minutes to 2.5 hours. When the world is about to be annihilated in whichever manner we foresee, we will rise from our operating tables and run away. When we’ve run until exhaustion (most likely up Princes Street and around Melbourne General Cemetery, located just up the road from Dancehouse) we will begin the 3d printing process – this will be a birthing of sorts – a new body will be born in the shape of our own and we will use this body and its thoughts for the construction of the blueprint which will be something like a notation for the dance. This is how we will begin each day that we are in the studio for the first 3 months of the residency. The blueprint birthed on each occasion will determine what will happen for the rest of day.
For the last 3 months of the residency, we will begin the day at the cemetery and lie in a space between two chosen graves. This time we will start with the apocalypse and work backwards. Right before we hit the big bang we will float down to Dancehouse and keep contracting until we have 3d printed our bodies and the tiny blueprint is birthed in the safety of the studio. This will make for a much smaller but more concentrated dance. The 3d printed thoughts of the body will here appear almost as if they are solid matter. On closer inspection we will see, however, that the solidity is in fact just density and density can be unravelled and deciphered, provided we look closely enough.
At the end of the 6 months’ worth of research we will stop and go back to the operating tables and lie there until we have fully consolidated what we have discovered from the laborious half-year investigation. We will lie there for as long as it takes. We expect the consolidation to take anywhere from 3 days to 3 months – in which case this would be the performance, since the marketing etc, has already been pre-arranged. Most likely, however, it will take around a week**. Once we have fully consolidated we will do a final 3d printing session, out of which the two blueprints, plan (a) and plan (b), will emerge. The dance, the nature of which we can’t yet begin to speculate on since nothing of this nature has ever been attempted before, will then be ready.
*maybe only hundreds, as we only have 8 months to do this.
**during this time we will be pure body in thought, and we will do some sort of Abramović style quasi-zen lifestyle where we will need PA’s to feed and toilet us.
/CONTEXT/ Nothing of this nature yet exists in neither choreography nor performance; if successful, the piece proposed can only be compared in terms of ambition to what Duchamp did with the bottle drying rack in 1914.
/WHY/ We're trying to figure out what needs to be done – on a larger scale – we believe in a totalist approach to artistic endeavour – and the body is a totality – a multiplicity in unity – we think the body knows how the future will unfold – and is able to communicate more precisely than language – and is the real key to making humans more ethical – the body has more intelligence than your deepest philosophy, is what Nietzsche said, and then he stopped calling himself a philosopher - it is out of necessity that we have come to it. YEAH!
/SALVATION+NECESSITY/ Let’s start again, from the beginning, let’s go back to the big bang and re-write what happens next. Poof! Next thing you know you’re looking down at your bipedal human body and you understand that it is a consequence. That’s ok there’s a lot there to work with. We shall take the body, and we shall extract as much information out of it as we can – with cutting-edge technology it is now possible to 3d print our own bodies so that we can observe and dissect them from an objective distance. We shall learn from them – the body will tell us how things are, or how they ought to be. We’ll next 3d print our thoughts (WE HAVE TO MOVE QUICK). They’ll appear small, no larger than the average-sized skull, and very condensed, so we will need magnifying glasses and detailed charts. Why? Well because it’s difficult, edging on impossible, to speak with any amount of precision about what the body, which includes the brain, whose pictorial impressions we have 3d printed above, knows. The magnifying glasses will help us to better see the confusing details, and the detailed charts will not be charts but dances. ‘What do you know?!’ we will ask the body and the brain, ‘because we want to know it too!’ is what we’ll say. Precision is what we’re after. The body, a consequence of the big bang, etcetera, is a great intelligence, but its mysterious silence can no longer be tolerated. ‘We need answers! Help us! You are the only hope we have left!’. And saying that in a raised voice will not be over-dramatic, because this really is critical and we will go extinct unless we figure out where we went wrong. So, these dances that will happen will carry mass amounts of information, and not just jumbled senseless random information, but precise blueprints which will contain within themselves the entirety of the world – from the bang and the expansion of space and the cooling and solidifying and cell division and monkey forefathers and mothers, to language and city planning and nature devastating and the looming apocalypse. The blueprint will be consumed in its own flame.
Then we will begin again, the big bang, expansion, evolution, etc. For a long time, the world will unfold and end in a relatively similar fashion. There will be blueprints in which instead of the big bang banging out the world, it will be god and darkness moving upon the face of the deep, then light, then firmament, then land, then plant, etc, etc. This world will also blow up in apocalypse. This will not stop us, however. We will keep 3d printing our thoughts and the thoughts of others until we discover something that works, some work, something previously unthought of. Throughout the residency we will 3d print thousands upon thousands* of people’s bodies and thoughts – of these, we expect to find at most two blueprints worth keeping. These two blueprints, plan (a) and plan (b), will be the key that the two artist researchers will use to unlock a NON-APOCALYPTIC FUTURE.
AT THIS POINT IN TIME, THAT’S ALL WE’RE LOOKING FOR: NON-APOCALYPSE.
/PROCESS+METHOD/ The two artist researchers will come into the studio and each lie on a metal operating table situated across the room from one another. We will picture a rapidly evolving world and human species. This might take anywhere from between 15 minutes to 2.5 hours. When the world is about to be annihilated in whichever manner we foresee, we will rise from our operating tables and run away. When we’ve run until exhaustion (most likely up Princes Street and around Melbourne General Cemetery, located just up the road from Dancehouse) we will begin the 3d printing process – this will be a birthing of sorts – a new body will be born in the shape of our own and we will use this body and its thoughts for the construction of the blueprint which will be something like a notation for the dance. This is how we will begin each day that we are in the studio for the first 3 months of the residency. The blueprint birthed on each occasion will determine what will happen for the rest of day.
For the last 3 months of the residency, we will begin the day at the cemetery and lie in a space between two chosen graves. This time we will start with the apocalypse and work backwards. Right before we hit the big bang we will float down to Dancehouse and keep contracting until we have 3d printed our bodies and the tiny blueprint is birthed in the safety of the studio. This will make for a much smaller but more concentrated dance. The 3d printed thoughts of the body will here appear almost as if they are solid matter. On closer inspection we will see, however, that the solidity is in fact just density and density can be unravelled and deciphered, provided we look closely enough.
At the end of the 6 months’ worth of research we will stop and go back to the operating tables and lie there until we have fully consolidated what we have discovered from the laborious half-year investigation. We will lie there for as long as it takes. We expect the consolidation to take anywhere from 3 days to 3 months – in which case this would be the performance, since the marketing etc, has already been pre-arranged. Most likely, however, it will take around a week**. Once we have fully consolidated we will do a final 3d printing session, out of which the two blueprints, plan (a) and plan (b), will emerge. The dance, the nature of which we can’t yet begin to speculate on since nothing of this nature has ever been attempted before, will then be ready.
*maybe only hundreds, as we only have 8 months to do this.
**during this time we will be pure body in thought, and we will do some sort of Abramović style quasi-zen lifestyle where we will need PA’s to feed and toilet us.
/CONTEXT/ Nothing of this nature yet exists in neither choreography nor performance; if successful, the piece proposed can only be compared in terms of ambition to what Duchamp did with the bottle drying rack in 1914.
/WHY/ We're trying to figure out what needs to be done – on a larger scale – we believe in a totalist approach to artistic endeavour – and the body is a totality – a multiplicity in unity – we think the body knows how the future will unfold – and is able to communicate more precisely than language – and is the real key to making humans more ethical – the body has more intelligence than your deepest philosophy, is what Nietzsche said, and then he stopped calling himself a philosopher - it is out of necessity that we have come to it. YEAH!
n BODY PROBLEM
[...] and as a collective, nanas negative 180 through to negative 1 pre-emptively loathe the idea of each consecutive nana n having the luxury of being the sole possessor of ontological reality at forthcoming moments in space and time [left butt cheek to nana59]. In theory, they would argue, nana n ceases to merely exist as a fleeting entity and becomes, so to speak, an infinitely superseding vehicle which in effect transcends the very notion of finite time. In other words, the past 180 negative nanas’ argument is that not only is nana n in a hypothetical position to attain an abstract form of immortality, but that nana n is by definition an undying unit. Furthermore, they maintain, nana n is rendered as such through (and only through) the cataleptic participation of nanas both negative, i.e. past, and positive, i.e. future – linearly speaking, of course.
Only a minority of time-bound nanas have thus far spoken up against the arrangement of the structure, all of them belonging to the near past (negative 180 – negative 1), while the as yet unaffected positive nanas of the future have remained unmoved (with the notable (although not entirely coincidental) exception of nana positive 1 whose clock will start ticking at precisely midnight tonight (see below)).
However, despite the lack of unanimous support from the sum total of the time-bound front, the space-bound front have united with the negative nanas 180 through to 1 and eagerly embraced what they view as a magnificent opportunity to remedy their various grievances. In a moving statement, space-bound nanas lamented their perceived neglect and expressed their immense communal desire to multivocalise the space of nana n. Which is why the decision has been made to de-centralise nana n into diverse areas of the body of nana. (The focus of nana59, for example, will be on the left butt cheek, whilst the focus of nana25 will be on the toenail of the right toe thumb.)
And, since these are the agreed parameters of the day, nana n shall henceforth report here every 24 hours at midnight – the exact time when the split between today and tomorrow, or, if you are of a pessimistic nature, today and yesterday occurs and recurs with astonishing regularity.
nana n shall gladly oblige all past and future nanas, as far as time is concerned, as well as all left and right nanas, and up and down nanas, and backwards and forwards nanas, as far as space is concerned.
[KEY: nana negative 180 = the nana of approx. 6 months ago
nana negative 1 = the nana of approx. 24 hours ago
nana postive 1 = the nana of tomorrow
nana postive 180 = the nana of the distant future]
[...] and as a collective, nanas negative 180 through to negative 1 pre-emptively loathe the idea of each consecutive nana n having the luxury of being the sole possessor of ontological reality at forthcoming moments in space and time [left butt cheek to nana59]. In theory, they would argue, nana n ceases to merely exist as a fleeting entity and becomes, so to speak, an infinitely superseding vehicle which in effect transcends the very notion of finite time. In other words, the past 180 negative nanas’ argument is that not only is nana n in a hypothetical position to attain an abstract form of immortality, but that nana n is by definition an undying unit. Furthermore, they maintain, nana n is rendered as such through (and only through) the cataleptic participation of nanas both negative, i.e. past, and positive, i.e. future – linearly speaking, of course.
Only a minority of time-bound nanas have thus far spoken up against the arrangement of the structure, all of them belonging to the near past (negative 180 – negative 1), while the as yet unaffected positive nanas of the future have remained unmoved (with the notable (although not entirely coincidental) exception of nana positive 1 whose clock will start ticking at precisely midnight tonight (see below)).
However, despite the lack of unanimous support from the sum total of the time-bound front, the space-bound front have united with the negative nanas 180 through to 1 and eagerly embraced what they view as a magnificent opportunity to remedy their various grievances. In a moving statement, space-bound nanas lamented their perceived neglect and expressed their immense communal desire to multivocalise the space of nana n. Which is why the decision has been made to de-centralise nana n into diverse areas of the body of nana. (The focus of nana59, for example, will be on the left butt cheek, whilst the focus of nana25 will be on the toenail of the right toe thumb.)
And, since these are the agreed parameters of the day, nana n shall henceforth report here every 24 hours at midnight – the exact time when the split between today and tomorrow, or, if you are of a pessimistic nature, today and yesterday occurs and recurs with astonishing regularity.
nana n shall gladly oblige all past and future nanas, as far as time is concerned, as well as all left and right nanas, and up and down nanas, and backwards and forwards nanas, as far as space is concerned.
[KEY: nana negative 180 = the nana of approx. 6 months ago
nana negative 1 = the nana of approx. 24 hours ago
nana postive 1 = the nana of tomorrow
nana postive 180 = the nana of the distant future]
GENITALPANIK: THE PUBIC AND THE PUBLIC
GENITALPANIK: THE PUBIC AND THE PUBLIC is a work about neo-femininity and force. It is about violence and the alpha female. It is about vaginacentricism and the girl super-hero.
GENITALPANIK will work to examine the muffled history of fellow vaginacentric artists and attempt to understand why it was so necessary for a feminist foremother to expose her private parts to the public.
Is it similar to an animal marking out territory, claiming and demanding its place in the world? GENITALPANIK reckons it is. Is it a desperate attempt to force the objectifying gaze to come face to face with the shocking Thing it fears and yearns for with the intent of destroying its status as an object and asserting the subjectivity and very humanity of the human woman owner of that Thing? GENITALPANIK says I’m not exactly sure what that means but if it has something to do with destabilising Ideas like Love by exposing their brutally simple core then yes, doubly so! Is it an attempt by the vagina to swallow everything in its path, thereby realising the traumatised objectifier’s age old fear, albeit from a place of total control? Aha! Shouts GENITALPANIK in agreement.
The pubic motivation behind the piece doesn’t necessarily have anything to do with gratuitous vulgarity or pornography – this is a piece which can and should be viewed by both impressionable children and prudish seniors alike.
GENITALPANIK is rather about identifying the female sex organ as a source of power and a place from which movement thought voice action might originate. It is also understood as a persistent reminder of animality and instinct as well as procreation and mortality.
GENITALPANIK imagines a frightening world taken over by Amazonian type women whose large vaginas threaten to swallow everything in their path. The only way that the villains can be fought is with more vagina – enter GENITALPANIK – three super-heroines whose vaginas are so brilliant and so cunning that the Amazonian type women barely stand a chance. But will the Amazonians manage to lure our super-heroines over to their world-dominating agenda, or will the bearers of the brilliant vaginas resist their sisters’ calls, like Mina resisted Count Dracula, even though she could feel the fervent vampirity in her blood? With great power comes great responsibility, and GENITALPANIK will try really hard not to fuck everything, up.
The somewhat confusing scenario will be further complicated by the fact that the villains as well as a proxy audience will be played by the same three performers who are in fact the GENITALPANIK super-heroines themselves. Furthermore, all live lighting and tech requirements will also be handled by the selfsame trio, making this a wholly selfsufficent genital nightmare.
GENITALPANIK: THE PUBIC AND THE PUBLIC is a work about neo-femininity and force. It is about violence and the alpha female. It is about vaginacentricism and the girl super-hero.
GENITALPANIK will work to examine the muffled history of fellow vaginacentric artists and attempt to understand why it was so necessary for a feminist foremother to expose her private parts to the public.
Is it similar to an animal marking out territory, claiming and demanding its place in the world? GENITALPANIK reckons it is. Is it a desperate attempt to force the objectifying gaze to come face to face with the shocking Thing it fears and yearns for with the intent of destroying its status as an object and asserting the subjectivity and very humanity of the human woman owner of that Thing? GENITALPANIK says I’m not exactly sure what that means but if it has something to do with destabilising Ideas like Love by exposing their brutally simple core then yes, doubly so! Is it an attempt by the vagina to swallow everything in its path, thereby realising the traumatised objectifier’s age old fear, albeit from a place of total control? Aha! Shouts GENITALPANIK in agreement.
The pubic motivation behind the piece doesn’t necessarily have anything to do with gratuitous vulgarity or pornography – this is a piece which can and should be viewed by both impressionable children and prudish seniors alike.
GENITALPANIK is rather about identifying the female sex organ as a source of power and a place from which movement thought voice action might originate. It is also understood as a persistent reminder of animality and instinct as well as procreation and mortality.
GENITALPANIK imagines a frightening world taken over by Amazonian type women whose large vaginas threaten to swallow everything in their path. The only way that the villains can be fought is with more vagina – enter GENITALPANIK – three super-heroines whose vaginas are so brilliant and so cunning that the Amazonian type women barely stand a chance. But will the Amazonians manage to lure our super-heroines over to their world-dominating agenda, or will the bearers of the brilliant vaginas resist their sisters’ calls, like Mina resisted Count Dracula, even though she could feel the fervent vampirity in her blood? With great power comes great responsibility, and GENITALPANIK will try really hard not to fuck everything, up.
The somewhat confusing scenario will be further complicated by the fact that the villains as well as a proxy audience will be played by the same three performers who are in fact the GENITALPANIK super-heroines themselves. Furthermore, all live lighting and tech requirements will also be handled by the selfsame trio, making this a wholly selfsufficent genital nightmare.
OLGA DOES OTPOR
The project proposed here is a performance lecture, a political think tank, a drawing up and dismantling of a blueprint for revolution and a propaganda machine set in motion by a cold strategist with a golden heart: meet Olga Posumović, a sixty year old Ukrainian prostitute, tv-actress and resistance fighter who has trained extensively with Otpor, aka Centre for Applied NonViolent Action and Strategies, whose headquarters in Belgrade I will be interning in in July. Otpor, which means resistance, is run by the kid that toppled Slobodan Milošević some sixteen years ago, using creative and purely nonviolent strategies. He is now doing Harvard and TED talks and was called by the Atlantic the secret mastermind behind the Arab Springs.
For this project, Posumović and I will try to fix Australia- Eastern European style. We will performatively regurgitate what Otpor has taught us and out of this vomit of revolutionary thought we will implicate our audience in the task at hand: we will come up with an actionable strategy that will try to fix Australia.
We will need to focus: What do we want? What is a solid goal we can work towards? Let's get the Greens in power(!) This would be a decent beginning. What are some compelling actions we can execute? (Olga suggests offering the voters standing in the Liberal line blowjobs if they vote Green, handjobs if they vote Labor. I objected to this as I am a feminist but Olga said: do you guys wanna win or not?? So we will lure the Liberals to a tent where we will show them pornos that are in actuality specially crafted propaganda videos, made in consultation with top advertising gurus and consumerism-psychologists. I suggested these lured Liberals be masturbated by solar-powered robots so as to maximise the number we are able to process/convert in a short amount of time).
These are just some strategies we’ve come up with that will be addressed during our performance lectures.
Following a think-tank we will be accepting further suggestions and we will act on the best of these.
Posumović says she doesn't think art needs to be political, that it would be better if there was no politics and art could focus on other things, like sex/linguistics/death and there's lots of other interesting things- but if it wants to be political then-why-the-heck-not-go-and-be-political?
it's so simple, the plan is a good one, “she says”
The project proposed here is a performance lecture, a political think tank, a drawing up and dismantling of a blueprint for revolution and a propaganda machine set in motion by a cold strategist with a golden heart: meet Olga Posumović, a sixty year old Ukrainian prostitute, tv-actress and resistance fighter who has trained extensively with Otpor, aka Centre for Applied NonViolent Action and Strategies, whose headquarters in Belgrade I will be interning in in July. Otpor, which means resistance, is run by the kid that toppled Slobodan Milošević some sixteen years ago, using creative and purely nonviolent strategies. He is now doing Harvard and TED talks and was called by the Atlantic the secret mastermind behind the Arab Springs.
For this project, Posumović and I will try to fix Australia- Eastern European style. We will performatively regurgitate what Otpor has taught us and out of this vomit of revolutionary thought we will implicate our audience in the task at hand: we will come up with an actionable strategy that will try to fix Australia.
We will need to focus: What do we want? What is a solid goal we can work towards? Let's get the Greens in power(!) This would be a decent beginning. What are some compelling actions we can execute? (Olga suggests offering the voters standing in the Liberal line blowjobs if they vote Green, handjobs if they vote Labor. I objected to this as I am a feminist but Olga said: do you guys wanna win or not?? So we will lure the Liberals to a tent where we will show them pornos that are in actuality specially crafted propaganda videos, made in consultation with top advertising gurus and consumerism-psychologists. I suggested these lured Liberals be masturbated by solar-powered robots so as to maximise the number we are able to process/convert in a short amount of time).
These are just some strategies we’ve come up with that will be addressed during our performance lectures.
Following a think-tank we will be accepting further suggestions and we will act on the best of these.
Posumović says she doesn't think art needs to be political, that it would be better if there was no politics and art could focus on other things, like sex/linguistics/death and there's lots of other interesting things- but if it wants to be political then-why-the-heck-not-go-and-be-political?
it's so simple, the plan is a good one, “she says”
FURTHER IDEAS, UNEDITED, ON THE FORTHCOMING RESISTANCE, AS VOICED BY VARIOUS MEMBERS OF THE THINK TANK
uncensored dreams and nightmares: we were watching porn on giant screens in the field, sitting in colourful fold up fabric chairs - voina fucking in the museum, otpor against milosevic, etc, with fist up in air going yeah, and all crouched up weak body sickly face screaming yeah in a weak voice with my fist up in the air in support of the porn on the tv, the politics of my brothers and sisters, and here i am watching it on replay on a big TV and i'm thinking fuck you mum fuck you for saving me from this, for bringing me to this shitty haven with its shitty foldable chairs, if you hadn't taken me away that would me getting rammed from behind whilst heavily pregnant (note: it's immigration i'm angry at)
nostalgia in an angry bitter voice: when i was 7 i used to make my mum take me into town so that i could drink coca cola the most expensive drink on the menu - and as i sat there enjoying this usa beverage i thought to myself you have brought me to a better life, because coca cola is fucking delicious! and despite not having received her pay check for 6 months on account of the wartime economic collapse she did this for me and paid the money because she also believed that coca cola was luxurious and totally worth while (note: it's delicious coca cola i'm angry at)
pros of propaganda: i used to think that advertising was deeply evil and that, like dfw said, it manipulates you into believing that it cares for you - is emotional abuse - but then i realised that it’s interesting that it can be used for good, like herding people into believing in the revolution (note: it's corporate emotional manipulation that i'm angry at)
quote: people need to dress the same have music you need to make it look like, how you call it, love parade
strategy: plant supporters in the audience, activate a herd mentality (note: if john and jane have washed their brains then bob and mary will too)
audience strategy: learn from otpor how to organise a massive (peaceful) protest, then after organising a massive (peaceful) protest subject them to a show
quote: to lead a protest movement effectively, an organisations leadership has to venture outside of cyberspace
representational leadership: have giant screen machine thing calling heroically for action, then be revealed like wizard of oz as a weak little dried up golem (note: the Idea of a leader = bums on seats)
overheard conversation between an unstable sympathiser who suffers from what he refers to as cultural & spiritual starvation and an eastern european otpor facilitator: holy shit! holy shit! otpor! let's do it here! but your country is stable and wealthy! what?! ooh come on! let's do it here!! but you are stable and wealthy!! ha ha
realisation about how things are here and the smartest way to dismantle that: lolz artists can't win because people want capitalism. but can someone think of the children! explain to a group of pre schoolers how they're being mentally oppressed and brain washed by their yuppy scum parents - the children are our future, the revolution must start here - turn them against their parents - sharp - reading club for toddlers - take them through the otpor revolution training school
on pro-western-democratic revolution, as one concerned member of our resistance put it: wait wait wait wait! i thought we were trying to turn this place into some kind of utopia, maaaan, your tellin' me you trying to turn this into a mcdonald munchin' tv watchin' glossy magazine flippin’ neoliberal conforming craphole, man? is that what you're trying to tell me? i don't know how i feel about this, man. man are you crazy? you wanna turn them into us? man they speak like 4 languages on average man, and i don't even know what a fucken verb is!
commonly overheard conversation between the resistance and their brethren: i'm leaving where are you going i'm joining the revolution , my sisters and brothers need me. we need you. no you are comfortable. i'm uncomfortable, i'm so sad, i, we need you, we are the carnage that's been left behind (note: don't worry AFP, its a "pro-democracy" revolution, NOT the other kind)
things that are interesting: nah i'm just interested in the performance of revolution, and therefore the performance of writing history and let's get a little kooky here but ultimately the performance of reality, is something that's endlessly interesting (note: is this an ethical sentiment?)
on the implications of uncovering the performance of reality: but after a while of listening to such a nauseating bunch of conspiracy uncoverers don't you just feel like shouting shuuuuuuut up! shut the fuck up! in mega derro accent (note: as in, shut the fuck up and be normal, i can't fucken handle any more of this shit)
ending: at the end of it all in white beds say no we'll stay here, we're free to be creative here
international society for the creatively maladjusted - calling all creatively maladjusteds, alienateds, isolationists, socially confuseds, bring your big dreams and sweaty palms on over here and tell us in your trembling voice what the world looks like in your imagination and animate with awkward gestures and displaced sighs the inappropriately hopeful vision you have for human kind
stay tuned
uncensored dreams and nightmares: we were watching porn on giant screens in the field, sitting in colourful fold up fabric chairs - voina fucking in the museum, otpor against milosevic, etc, with fist up in air going yeah, and all crouched up weak body sickly face screaming yeah in a weak voice with my fist up in the air in support of the porn on the tv, the politics of my brothers and sisters, and here i am watching it on replay on a big TV and i'm thinking fuck you mum fuck you for saving me from this, for bringing me to this shitty haven with its shitty foldable chairs, if you hadn't taken me away that would me getting rammed from behind whilst heavily pregnant (note: it's immigration i'm angry at)
nostalgia in an angry bitter voice: when i was 7 i used to make my mum take me into town so that i could drink coca cola the most expensive drink on the menu - and as i sat there enjoying this usa beverage i thought to myself you have brought me to a better life, because coca cola is fucking delicious! and despite not having received her pay check for 6 months on account of the wartime economic collapse she did this for me and paid the money because she also believed that coca cola was luxurious and totally worth while (note: it's delicious coca cola i'm angry at)
pros of propaganda: i used to think that advertising was deeply evil and that, like dfw said, it manipulates you into believing that it cares for you - is emotional abuse - but then i realised that it’s interesting that it can be used for good, like herding people into believing in the revolution (note: it's corporate emotional manipulation that i'm angry at)
quote: people need to dress the same have music you need to make it look like, how you call it, love parade
strategy: plant supporters in the audience, activate a herd mentality (note: if john and jane have washed their brains then bob and mary will too)
audience strategy: learn from otpor how to organise a massive (peaceful) protest, then after organising a massive (peaceful) protest subject them to a show
quote: to lead a protest movement effectively, an organisations leadership has to venture outside of cyberspace
representational leadership: have giant screen machine thing calling heroically for action, then be revealed like wizard of oz as a weak little dried up golem (note: the Idea of a leader = bums on seats)
overheard conversation between an unstable sympathiser who suffers from what he refers to as cultural & spiritual starvation and an eastern european otpor facilitator: holy shit! holy shit! otpor! let's do it here! but your country is stable and wealthy! what?! ooh come on! let's do it here!! but you are stable and wealthy!! ha ha
realisation about how things are here and the smartest way to dismantle that: lolz artists can't win because people want capitalism. but can someone think of the children! explain to a group of pre schoolers how they're being mentally oppressed and brain washed by their yuppy scum parents - the children are our future, the revolution must start here - turn them against their parents - sharp - reading club for toddlers - take them through the otpor revolution training school
on pro-western-democratic revolution, as one concerned member of our resistance put it: wait wait wait wait! i thought we were trying to turn this place into some kind of utopia, maaaan, your tellin' me you trying to turn this into a mcdonald munchin' tv watchin' glossy magazine flippin’ neoliberal conforming craphole, man? is that what you're trying to tell me? i don't know how i feel about this, man. man are you crazy? you wanna turn them into us? man they speak like 4 languages on average man, and i don't even know what a fucken verb is!
commonly overheard conversation between the resistance and their brethren: i'm leaving where are you going i'm joining the revolution , my sisters and brothers need me. we need you. no you are comfortable. i'm uncomfortable, i'm so sad, i, we need you, we are the carnage that's been left behind (note: don't worry AFP, its a "pro-democracy" revolution, NOT the other kind)
things that are interesting: nah i'm just interested in the performance of revolution, and therefore the performance of writing history and let's get a little kooky here but ultimately the performance of reality, is something that's endlessly interesting (note: is this an ethical sentiment?)
on the implications of uncovering the performance of reality: but after a while of listening to such a nauseating bunch of conspiracy uncoverers don't you just feel like shouting shuuuuuuut up! shut the fuck up! in mega derro accent (note: as in, shut the fuck up and be normal, i can't fucken handle any more of this shit)
ending: at the end of it all in white beds say no we'll stay here, we're free to be creative here
international society for the creatively maladjusted - calling all creatively maladjusteds, alienateds, isolationists, socially confuseds, bring your big dreams and sweaty palms on over here and tell us in your trembling voice what the world looks like in your imagination and animate with awkward gestures and displaced sighs the inappropriately hopeful vision you have for human kind
stay tuned
We will read the shoulder like it's a bible. (Sample shoulder by Wolfgang Tillmans; the one we're looking for is even more unbelievable)
