File deleuze-guattari/deleuze-guattari.0512, message 39


Date: Sat, 17 Dec 2005 19:49:50 +0000 (GMT)
To: deleuze-guattari-AT-lists.driftline.org
Subject: Re: [D-G] coucou NZ!! a letter from Europe


 do you mean the every minute increasing us debt, is it to the inhabitants of nyc that they owe moneyone impressive building on time square is the nasdaq one. it's a different one from the others, have you seen it? it's the one with televisions on it structure. instead of windows, televisions a wall of images, for free everybody can watch. that's how i learned about london 7th july explosions. "nasdaq wants you to pray for the victims of this morning in london terror attacks", and then the idea of attacks in nyc, the link is perfectly smooth working for anyone, it's a biunivocal channel , part of the collective unconscious, the tip of the iceberg, needs to be explored the 95 percent of the iceberg. yes, like your statement on french riots on braodway. so it seems french riots have made its way to people in the states aswell? i am not saying your mind, or her mind, but really like something interesting for the modulating collective unconscious  i watch also the movies that are
 broadcasted on 41st and 7th. 
  with no sound. i want there do music with the sounds of the city for a narrative, a selfsingularisation of nyc as chaosmosis. i wish i could show my movie with sound on that spot, and play with the idea of adding space, and virtual nasdaq tower being close, to echo it. something extravagant.  with the surrounding landscape. but there really need some sound. is it allowed to have sounds in the streets or do they need come from the cars? do cars, trains have more freedom of shriek expression than the individual's mouth for a personal narrative? 
  i think about what you say on christo, his discourse to the currators must be somwhat 
  inspired? it's part of the "démarche", the preparation to art is a key concept in conceptual or landscape art. christo is very proud of its preparation. so you can see it as a coup d'etat or as somebody intelligent of what, of the collective unconscious. he is capable to _feel_ the collective unconscious, and thus interact with key people in the collective unconscious. that's where is see him as an artists.

NZ <pretzelworld-AT-gmail.com> wrote:
  new york politics suck, now we are being threatened by mayor gloomberg
with a mass transit MTA subway strike. this happens every year, they
never strike, and actually can not strike legally cuz MTA unions are
illegal. All they are asking for is a contract of 3 years with an 8%
raise instead of 5%... and I say "why not!"

5% is the national average, every minute the US debt increases one
million dollars, but that's okay cuz every minute we print 5 times
extra currency ... thus the 5%

the reason MTA are asking 3% more is clear. firstly, in the summertime
the city finally sold off its massive waterfront plots of public MTA
land to private realestate holders, so you can imagine that the MTA
workerss want to participate in some of that profit.
2_secondly, the MTA already has plans to raise the current $2 MTA fare
price, 3 years ago they raised it 20%(!), something similar can be
expected in 2006, so again the MTA workers just want a cut of the
profits that obviously quite large.
3) thirdly, the "terror" threat is stressful for public workers who
serve as the face of the very system being attacked, so obviously they
ought to get paid more for being on the frontline, especially since
the city did not have the forsight to provide any "anti-terrorist
training" in fact it was all over the news when MTA workers organized
their own volunteer training classes and paid for it themselves cuz
they got scared and take these threats seriously.
4thly, the MTA is thhe heartline of the city and the people who make
it run are extremely important, they are super-important, they belong
in a special class of the workforce that ought to be given its due (so
important that their right to strike has been take away).

i5 years ago it was mayor ghoulani and now its mayor gloomberg, but
the city needs to stop spending millions of dollars on private
art-security and pay attention to the public sector again or else we
will see the next paris riots right here on 42nd & Broadway.

One of the biggest jokes this last year was the gates show in central
park by Christo and his fiendish wife Jeanne-Claude. with a scheme 20
years in the making, christo & co. managed to figure out a deal in
which the city could pay its police force 22 million dollars to patrol
the park and keep their stupid ghetto version of art safe from
vandalism. where are those vandals and visagoths? I have never heard
of an artist who would stoop to such military fascism in the name of
public good. the quality of the art itself is of little consequence
unless of course it is possible to find value in the irony of watching
millions of middleclass new yorkers willfully, nay, gleefully walking
through hundreds upon hundreds of giant-sized neon-orange security
gates(!) we are at war, and war is not a walk in the park. orange
orange orange orange orange alert orange alert orange alert
the gates were ill conceived, their proportions were such that, as a
person passed through them, the bulk of the gates' compositional
weight rested above, heavy like a guillotine propelled by the gravity
of the the new world order.
PICS:
Look at the photographs and see how disproportionate and ominous 
these objects appear when they frame an individual's human body. i
could not imagine a more emasculating position, the orangeness
outweighing the human form, even daring to flutter in the breeze to
bring the orange guiloteen to life, oh the humanity...

Thankfully the gates were removed and the park could once again be
enjoyed. Although the pricetag for the project materials was incurred
by the artists themselves (those jerks!) the 22 million security was
paid for by city taxes. In the brochure that was handed out to
everyone, christo & co. gave their audience every imaginable excuse to
accept their project - "it is made of recyled materials", "the workers
are paid fair wages", "the structural integrity of the gates has been
insured for worker safety", "the park will be restored to the same
state it was found in", etc... really now, what kind of artist would
come up with a list of logical reasons to have their work accepted?

What I found most interesting was that most basic premise for
accepting their project, that premise being "temporality," its so
crucial that the gates were designed to be non-permanent objects. just
like the terror-code, the orange alert is not supposed to be a
permanent state of terror but a temporary inconvenience that all must
endure. And yet in the common narrative, this intellelctual premise is
completely detached from the _permanent_costs that taxpayers forked up
to enact the temporary premise. Its a bad joke played on suckers, but
so what who cares, does it really matter? Since Ive been in NYC I have
not seen one single amatuer art critic complain about what happened in
central park with the bulgarians. the only complaints I heard were
from uppity aesthicians who complained about the lack of imagination.

but that was last year, 2006 will be just great! dogs dogs dogs dogs
all year. I plan to do lots of barking and biting... but I refuse to
eat dog food or even hot-dogs and catsup!

has anybody read Philip Dru by House?
After i read that story I realized that the mega-narrative of history
is no longer "empirical" but has became "experimental" and for me
began to make much more sense as a grand design instead of landscape
of events. (PV really pushes to obscure this line, what with his
"comets from the fog" re-definition of integral accident) the lack of
imagination in politics and the reliance of articulating and enacting
false narratives. Like the self-diagnosis which capitalist mouthpieces
like zizek makes of himself but passes off as an objective
observation... "its more easier to imagine complete destruction of
life on earth then it is to imagine the dismantling of capitalist
structure."

indeed, A fear of logos, not external logos anymore, but of the logos
of personal hypomnemata that can stand head to head against an
external logos. the fear of formulating and articulating a personal
logic is so strong and so easy to take advantage of. (Why would
Germany want to outlaw open-source code!?) If I'm not mistaken, most
americans have one phobia/fear that is even greater then the fear of
death itself, that fear is usually described by those who feel it as
"a fear of public speaking." It makes sense to me cuz public speaking
is basically a moment of personal logos articulation within the social
frame... to me that is a very central issue to that imagined
ultimate-narrative of our times.

DUMB SITE ON PHOBIA
http://www.communicationnow.org/id13.html


If any of you are in NYC this weekend you might be interested in going
to this art related event where I will be selling vegan hot-dogs and
sweets from my bakery:

la superette
Exit Art
475 10th Avenue at 36th Street
New York, NY 10018
http://www.lasuperette.org/
Saturday, December 17, 2pm-10pm and
Sunday, December 18, 1pm-6pm

there will be shelves and shelves of cheap functional-art for sale
(holiday fix) and really fantastic music all day long.
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