CECIL RHODES STATUE BEHEADED AT OXFORD UNIVERSITY
- Written by DAMTP
The statue of British Capitalist Cecil Rhodes which is at the centre of a controversy at Oxford University has been found beheaded in the morning on 10th February, 2016.
Oriel College has confirmed that Police have been called to the scene and have ruled out any involvement from the "Rhodes Must Fall" student group.
After initially issuing a statement that agreed with the protestors, stating the statue was "problematic", and the Oxford Union also voting in favour of the removal of the statue, the university gave in to demands from wealthy donors that the statue remain in place.
Initial reports on the beheading claimed that it had been done by an ISIS / Daesh cell operating in England. In other claims on the internet, British graffiti artist Banksy has been suggested as the perpetrator.
MI5 and MI6 while initally contradicting each other have now confirmed that this is not true. Britain First are being blamed by the Home Office for what it called "irresponsible racist scaremongering".
Reports have this morning emerged of a bizarrely named group, referring to themselves as "psychic workers", called All Made-up And Non exidtent and Dead Labourers Association (AMANDLA) which has claimed responsibility for the beheading on various websites and blogs.
Both Oriel College and Oxford University have declined to comment on claims that the group has demanded a £100 million ransom for the return of the head.
THREESIDED FOOTBALL (c)UP IN DEPTHORD AND GREENWICH, LONDON ON MARCH 19-25
- Written by DAMTP
We invite all of you, who are available for that time and are willing to do something together and so to continue Alytus DAMTP experiences.
The preliminary plan is:
1st possible date: March 19th, Saturday, at noon - Shifting the Goalposts 3SF Match at Greenwich – close to observatory and so to intervene into the metric control of time and space. I have a plan to elaborate the construction of goals to be fixed to bikes (3 bikes hold 1 goal). Goals are continuously changing its location and the players also should check themselves not to get out too far from the pitch. It would be interesting for the pitch to traverse multiple environments - grass, roadway, pond, slope. Our game could rotate across the meridian - symbolically uniting east with west in a spiral motion - the onset of Jorn’s complexity vandalism…. Might be one goal would be constructed as stilt walking unit – so making a superimposition of situationist praxis with fluxus elements (mounted bikes or stilted football).
2nd possible date: March 20th, Sunday, at noon - Quantum Superimposition London (c)Up Wahdat of 3SF Kathiral at Greenwich Park (a psychic anchor of absolute time). There is planned superimposition of 99 players for one game of 9 teams consisting of 11 players each.In fact there will be 3 games of 3Sf football played simultaneously.
So far there are included fluxus elements we are looking forward to hold a festival of three sided football in London - a FluxFootballum - a real Flux festival. Invite ‘three sided footballers’ (aka flux artists) from around the world to take over London as they see fit. Apparently random and spontaneous three sided football matches of one type or another springing up across the city on March 21st through 25th.
RA FEDERICO TRAINE AND GASTON EBUA VERSUS LAND BERLIN
- Written by DAMTP
Dear law students,
You are kindly invited to take part in the oral hearing and court debate regarding an independent registration of „völkerrechtlischen Menschenrechtsschutzes“ by the „Kammergericht“ Berlin for third party advocacy.
This legally binding procedure under international human rights treaty procedural laws allows an indvidual or any third party who is not a national lawyer to carry out international treaty procedures on their behalf.
Our aim is to force the court to acknowledge that this is equally valid for buisness puposes for third party who are not state lawyers.
RA Federico Traine and Gaston Ebua ( Applicant/Antragsteller)
Land Berlin which is representing Anwaltskammer Berlin.
Time: Wednesday 10. February 2016 at 9 am
Address: Berlin Administrative Court (Verwaltungsgericht Berlin-VG) Kirchstr 7, 10557 Berlin
Your presence is highly appreciated and will be a great support.
We hope many of you may come and be observers and make notes or protocol the hearing.
It is only the begining of a long process.
RAHMAT ALI URS - تھی ا تھی MIDDAY, SATURDAY 13th FEBRUARY 2016 @GRAVE OF RAHMAT ALI CHAUDHRY CAMBRIDGE CEMETERY, NEWMARKET ROAD
- Written by DEad WOrkers Union (DEWOU-DAMTP)
We have been sold the idea that the only form of resistance is what happened in the 1960’s. There are
any number of ways to resist! Imagine, a Black Love-In. What would that look like? At this point, you
probably think I’m unraveling. I’m not. We have to be more creative in our resistance. It has to stop
being so reactionary and futile. The protest march has been done to death (literally).
ALYTUS PSYCHIC STRIKE BIENNIAL: ANIMISTIC COMMUNIST PSYCHIC SUFIST URS MUBARAK IN RAIŽIAI [NOTES FOR PROLETARIAN CALENDAR]
- Written by Tae Ateh
The trip was proposed by comrade Tae Ateh because of quantum superimposition of basic spatial, temporal and animist features, but also because of the biggest variety of the lichens found in the area of Raižiai - (45 taxa), and where most of the gravestones are siliceous rocks (natural collector of information – a hard disc). Very rare species identified were Lecanora semipallida H.Magn., Lecanora sulphurea (Hoffm.) Ach., Xanthoparmelia verruculifera (Nyl.) O. Blanco, Psilolechia lucida (Ach.) M. Choisy, Rhizocarpon geographicum (L.) DC., and Rhizocarpon lecanorinum Anders.
The Raižiai village is known as Tatarian living place since XVI century. There was a Lithuanian Muslim centre since before the World War II and still the community survives as an animist unit – singularity or wahdat.
Event co-ordinated by Alytus Biennial Reversion into Abolition of Culture And Distribution of its Aberrant Bacillus Right Abroad – Committee (ABRACADABRA-C) did an attempt to arrange the trans-national psychic workers‘ meeting with the local community of Raižiai. The communication was available only through the local representative of community Ipolitas, who arranged it in a way of tourist entertainment by presenting the symbolic items, which supposed to mean community itself.
We did a tour through the basic symbolic arrangements serving as screens for the local community to hide away – that was what we realized in the end of our tour when it started to be clear that nobody from the community are willing to appear.
The grand symbol of the Tartar community is the monument for the symbiosis of the Grand Duchess of Lithuania (Columns of Gediminas) and Golden Horde (Tarak-Tamga) – there our tour has started. Comrade Tae Ateh recognized two letters coming into one….
The first time dimension – the dates – those to coincide with the beginning of the Age of Divinity. The oldest date on the memorial is 1397 - this is 2 years after the death of Naimi Fazlallah Hurufi - The Seal of the Saints. The arc of time up until 2007 when Isidore Isou died is what we call the Age of Divinity. It is the period where Judaism is transformed, through the synthesis of Islam and Christianity in Protestantism, into Capitalism which reaches its apex as the organising force of the world.
SIERRA LEONE: EBOLA AGAIN
- Written by Elongima Bundu
A very serious misconception from the public in Sierra Leone about the first confirmed case in the country of a 22yrs old girl who died few days ago after Ebola was declared Free. She died in the northern Tonkolili district, which borders north and southern province of Sierra Leone. Information coming in from Kambia district indicates that the stepfather to the deceased index case, Sheik Osman Kamara, who recently died from the Ebola virus, has fled to avoid being quarantined along with others who came into contact with the deceased.
The general public is informed of a high risk contact to the index case who is believed to have travelled to the Western Area Urban by boat from Kambia district on Saturday, 16 January 2016.”, The ministry of health said in a press release issued today. Sheik Osman Kamara is the stepfather to the deceased index case and hosted her in Kambia. He is five foot tall, dark in complexion between the ages of 35 to 45 years old. He is an Islamic scholar and was last seen around Pademba Road in Freetown on Saturday. It was gathered that the aged man helped to care for his late step-daughter when she was sick, unknown to him, It was the dreaded Ebola virus disease.Earlier reports had informed that about 103 people who came in contact with the late Mariatu Jalloh, who died last Thursday in Tonkoili district, have been placed in quarantine for medical watch. However, 3 contacts are said to have escaped.
DAMTP WINTER SOLSTICE EDITION issue No. 14 is available
- Written by DAMTP
DAMTP continues on producing situographic newspapers - this time in Arabic, Russian, English, Lithuanian, German, Indonesian and Asemic languages. There are further explored global developments of 3 Sided Football, presented the Program on Sensitization and Awareness on Cyber Security for Young Girls in Sierra Leone, media guerilla activism of OKK and as usually spread up asemic multitude in the issue:
All other DAMTP editions in PDF's are available here:
DAMTP issue No. 13 is available
- Written by DAMTP
DAMTP continues on producing situographic newspapers
DAM & Travailleurs Psychique DAWOUrés de internationale situationniste, Numéro 13, Guy Debord‘s death day issue 7PC . After 46-year psychic break DEWOU-DAMTP cordially accepts the souls of dead situationists who finally got to their destination in Raižiai lichen meadow and continues on since their last issue Internationale Situationniste, Numéro 12, published in 1969. We refer to the détournementof great animist tradition of Siberian shamans who did inhabited the souls of the “communards” shot at the conclusion of the Paris Commune in 1871 and finally got refuge in the Lake Baikal. There is important to point that they did what the materialist left-side-brain-thinkers of Europe never even got to mind – they prefer to follow the concepts. There are explored developments of 3 Sided Football, problems of racism in therealms of serious culture and spread up asemic multitude in the issue: http://antisystemic.org/SW/DAMTP13.pdf
All other DAMTP editions in PDF's are available here:
PRELIMINARY PROBLEMS IN CONSTRUCTING A TRIOLECTIC: Thoughts suggested following experiments in the use of “’pataposition” to render three-sided football in n-dimensional space (in two parts)
- Written by The New Cross Triangle Psychogeographical Association (NXTPA)
Part 1: Alytus, Lughnassadh, 2015 (Report written in anticipation of release for the Winter Solstice, since culture is what is left when all that has been understood is forgotten)
In the summer of 2015 CE, somewhere in a forest in Southern Lithuania, just a few miles from the exact geographical centre-point of Europe, a contingent of psychic workers undertook the construction of a triangular “supercollider” from the ’pataposition of three overlapping orthographic projections of the Kabbalist “Cube of Space”. Here they launched three simultaneous games of three-sided football into each other at high speed, the intense energies released in this “super-superposition” being sufficient to open up higher dimensional space, uncovering the deep triolectics at play within the science of exceptions. In doing so, the assembled situlogists successfully glimpsed the quantum hyperspace of psychogeographic gameplay, completing the first phase in what has been called a “Great Unworking”: Three-sided football’s attempt at the psychogeographical “unbinding” of Europe.
Whilst it had long been decided that our bi -annual festive get-together would be marked by a communal game of three-sided football, initially some debate had taken place as to the exact format this might take. Blissett had, of course, within minutes of arriving, set out our own propositions on the matter to the assembled congress. Blissett and Blissett, as the instantly revocable delegates of the NXTPA, SOF and the Luther Blissett Deptford League, had in fact only arrived in the country the previous evening, having crossed the Konnigsberg bridges at 30,000ft the previous sunset. Still tired from our late night dérive through southern Vinius, a local minibus had spirited us through the sun -soaked pine forests to arrive just in time for coffee.
Blissett presented an informative paper on the 23 varieties of three -sided football, or at least those so far catalogued in the Book of Deptford, whilst Blissett’s report on Triolectical Football in N-Dimensional Space and Kabbalah Quantum Letterism was happily well received by the assembled psychic workers in the hall. In the paper we had suggested that a homeomorphic transformation of the Kabbalah’s Cube of Space - the inspiration for Isou’s Letterist cosmology - had been undertaken by John Dee in the 16th Century, through the use of non-Euclidean, n- dimensional geometry. Presenting the trifurcation of the Cube of Space into the Kabbalists’ Tree of Life (religion), the artists’ colour wheel (art) and the three-sided football field (sport), we demonstrated the hypothesis that through the use of super-superposition (what we opted to call ’pataposition), that it would be possible to experience three-sided football itself in n-dimensional space.
Ateh stated that he too had been considering the possibilities of superposition, whilst Ateh filled in the assembled delegates further upon his important research concerning hidden dimensions of Lettrism at the End of the Age of Divinity. This had, I gathered, been elaborated on at previous congresses, but it was useful for me to have a refresher on such crucial analyses. The afternoon saw us assembling for banner painting, ahead of the planned OPSINA (cOmmitee for the coordination of the psychic workers Plenary to Submit to reproductIve aNd productive workers And dominate destructive workers) psychic attack on the G4S offices at the Swedbank compound in Alytus. We were to carry out the action in solidarity with all those afflicted by its prisons, detention centres and concentrations camps worldwide. Using the collected local clay from the Situchemistry store in order to asemically embellish a number of translucent cloths.
This proletarian medicine was being dished out at morning exercises each daybreak to those willing and able to get up in time, but we noted that it also made an excellent painterly and plastic medium for the patterns and sigils with which we now adorned our garments.
The results, Blissett remarked, were quite satisfactory. Not only that, but I noted that it also reduced our dependence on industrially produced and dubiously sourced pigmentations, whose colonialist patronage is well known. Our newly -embellished drapes were then wrapped about our personages, whilst we transformed ourselves and each other by means of a Situpathic daubing ritual, singing and dancing whilst situlogically transmuting the very forms of our bodies through a transformative morphology of the unique.
NUO INFOGRAFIKOS PRIE SITUGRAFIJOS
- Written by Redas Diržys
Kūrybinės dirbtuvės „Nuo infografijos prie situgrafijos“ Ukmergės meno mokyklos dailės skyriuje pagal Dailės mokyklų saociacijos projektą „Informacinių technologijų panaudojimas dailės edukacijoje“ įvyko 2015 m. lapkričio 27 ir 28 d. Jose dalyvavo po du mokinius ir vieną mokytoją iš Telšių, Alytaus, Šiaulių ir Kėdainių dailės mokyklų, iš Vilniaus Justino Vienožinskio dailės mokyklos Naujosios Vilnios filialo - 4 mokiniai ir 1 mokytoja, o iš Ukmergės meno mokyklos dailės skyriaus - 4 mokiniai ir 5 mokytojai.
Įvadas į infografiją
Pirmoji kūrybinių dirbtuvių dalis buvo skirta susipažinimui su sąvokomis, kurios bus vartojamos viso renginio metu, bei pradiniam įvadui į infografiją. Infografija – socialinių, technologinių, biologinių ir istorinių sąryšingumų atvaizdavimas. Šis reiškinys užgimė kartu su izotipo (isotype) ir vizualios komunikacijos teorijomis XX a. 3 dešimtmetyje ir tuomet tai buvo itin glaudžiai susiję su Kelno progresyvistų (post)meninėmis idėjomis, smarkiai įtakojusiomis kibernetikos vystymąsi. Tai teksto virsmo vaizdu, o vaizdo virsmo tekstu procesas. Ilgainiui šis reiškinys niveliavosi į infografiką - informacijos, duomenų ir žinių perdavimą vizualiomis grafikos formomis. Kad išvengti vartotojiško ikonografinių vaizdų panaudojimo (atvaizduojamumo, pasakojimo, literatūriškumo ir pan.) buvo pasiūlytas (ne)unikalumo ((ne)autentiškumo) sampratos modelis: išvengti tradicinių tiek dailės edukacijoje, tiek europietiškos tradicijos mąstymą kanonizuotų simbolizmo bei abstrakcijos elementų. Kiekvienas dalyvis privalėjo atsivežti po 10 vienodų „įdomios konfigūracijos objektų, kurių ilgiausias matmuo būtų ne mažesnis nei 3 cm, o ilgiausias neviršytų 10 cm. Kombinuojant objektus ir linijinę išraišką kolektyvinėmis kūrybinėmis pastangomis – dalyvavo ir mokiniai ir mokytojai lygiomis teisėmis – buvo laipsniškai atsisakoma bazinių semiotinių vaizdo konstravimo klišių: simbolizmo (ryšys tarp ženklo ir objekto) bei ikonografijos (išorinio panašumo vaizdavimas). Dirbtuvių dalyviai labai natūraliai perėmė indeksinio vaizdavimo principus – pradėjo naudoti tiek pačius objektus, tiek pačius save kaip vaizdavimo subjektą ir objektą vienu metu. Galutinai infografijos eksperimentiniai ieškojimai buvo užtvirtinti jau išėjus iš edukacinės erdvės pietų pertraukai, kuomet ant pietų stalo pasitiesus popieriaus lakštus buvo pratęsiami realybės transformacijos į grafines formas paieškas. Nei mokiniai nei mokytojai nesitikėjo, kad edukacinis procesas išeis iš už tradicinės edukacinės erdvės, bet noriai priėmė žaidimo taisykles: ieškoti sąryšingumų tarp kasdienybės ir vizijų, tarp kiekvieno savęs ir aplinkos, tarp normų ir improvizacijos. Bematant ryšys užsimezgė ir su restorano padavėjais, kurie įtariai žvelgė į nekasdienes praktikas, juolab, kad įsijautę dirbtuvių dalyviai kiek apipiešė ir atlasines staltieses, lėkštes bei taures, pavcersdami kiekvieną objektą unikaliu. Būtent tai ir buvo principinė šių dirbtuvių nuostata – skatinti situloginį mąstymą, kuris remiasi unikolamumo morfologija jai nuolat transformuojantis. Kitais žodžiais tariant – unikalu yra tai, kas nuolat įgauna vis kitus pavidalus.
END FASHION RACISM
- Written by Samnia Malik
- Written by Martin Zet
ارتہین بین الاقوامی: منشور
- Written by Tae Ateh
بے معنی بین الاقوامی
( ارتہین انٹرنیشنل )
ارتہین انٹرنیشنل جھوٹ اور کل کنٹرول، سرمایہ دار دنیا میں کسی بھی عدم مساوات اور ناانصافی کے کسی بھی بیوروکریسی،
اور نظام کے خلاف لڑنے کی فورسز ایک کرتا ہے کہ ایک بین الاقوامی انقلابی تنظیم ہے.
ارتہین تحریری طور پر بیوروکریسی کے خلاف جنگ اور اس طرح کے طور پر استعمال کیا جانا چاہئے کا ایک ذریعہ ہے. کام پر اور ایک ریلی میں، عدالت، جیل میں بھی اور ایک ذہنی ہسپتال میں، بیکار فارم میں بھرنے اور تحریری میں بیوکوف سوالات کے جواب دینے جبکہ: آج بھی، ہر جگہ اس کا استعمال کرنے کی ضرورت ہے.
ارتہین تحریری طور پر مختلف صنعتوں، اقتصادی حالات، جلد کے رنگ، جنس، مذاہب، اور عقائد کے لوگوں کے لئے اکارن بیوروکریٹک تعلقات اور غلط مطالبات کا ایک مناسب جواب ہے.
ہر کارکن ارتہین انٹرنیشنل کے رکن بن سکتے ہیں. اس کے لئے، یہ آپ اپنے آپ کو اور / یا آپ کے رشتہ داروں اور / یا کے خلاف گواہی دیتے ہیں کہ، وہ آپ کو آپ کے ضمیر کے خلاف عمل ہے کہ، آپ کو آپ کی قابلیت سے زیادہ کچھ کرنا ہے کہ ضرورت ہوتی ہے اور بغیر کوئی سوال ان بیوکوف سمتوں پر اطاعت کرو جب بھی ارتہین تحریری طور پر استعمال کرتے ہوئے شروع کرنے کے لئے ضروری ہے اپنے دوستوں اور / یا آپ کے جاننے والوں اور / یا آپ کے ساتھیوں اور / یا محنت کش طبقے میں سے کسی نمائندے کو صرف آپ کی طرح.
DAMPT جزوی طور پر اس کی جانب سے ارتہین بین الاقوامی ضروریات اور کارروائیوں سے ملاقات کے بعد DAMTP (AMKAAK) کے ہر شریک ارتہین انٹرنیشنل کے رکن بن سکتے ہیں.
ارتہین بین الاقوامی فن نہیں بلکہ انقلابی جنگ کا ایک ذریعہ ہونے کے لئے ارتہین تحریری طور پر اعلان کر دیا، تمام مینیجرز اور سپروائزر، انتظامی اور عدالتی حکام کو پہیلی کے لئے ایک ذریعہ،-برتر ماتحت اور سرمایہ دارانہ غلام کا رشتہ ماڈل کو تباہ کرنے کا ایک ذریعہ.
روسی بولنے والے ممالک کے لیے کارآمد: تمام صنعتوں میں کارکنوں یہ ہو کہ ارتہین بین الاقوامی مانگ کے ارکان پروڈکشن یا دانشورانہ شعبوں، سب سے کم سطح کے کارکنوں اور سب سے گندی نوکریاں، جن کا کام کر رہے ہیں کسی بھی حد تک قابل قدر ہے تمام کارکنوں "работники" سے نام تبدیل کر دیا (نوٹ - یہ روسی لفظ غلامی کا مطلب ہے) "трудящиеся" (- اس روسی لفظ کے کام کی عظمت کو نمایاں کرتی ہے نوٹ) میں. یہ اس مارکر ختم کرنے کا وقت ہے! اس طرح، ارتہین انٹرنیشنل کے ہر رکن کو ایک "трудящийся." ہے
اس وجہ سے لکیروں اور نادانستہ ارتہین تحریری طور پر استعمال کر رہا ہے استاد کی غیر واضح کے جواب میں ناقابل خواندگی نشانیاں کرتی ہے اور جو ہر بچے کو ارتہین انٹرنیشنل کے ایک رکن ہے.
ارتہین تحریری طور پر تمام مقبول تقاریر، تمام دساتیر اور سرمایہ دارانہ نظام، جھوٹ اور کل کنٹرول کے تمام قلعوں کو ایک مناسب جواب ہے. اس پر ظلم کرنے اور، سمجھ سے باہر متحرک، اور غیر معینہ کوئی واضح سرحدوں، ساتھ کچھ ختم کرنا ناممکن ہے.
ارتہین انٹرنیشنل کے ارکان، انفرادیت اور آزادی کی کوئی جبر کے ساتھ کوئی سرمایہ دارانہ نظام، بیوروکریسی اور مذمت، کے ساتھ، کوئی نسل پرست اندوشواسوں کے ساتھ منصفانہ اور مساوی تعلقات کی غیر سماجی معاشرہ میں نئی دنیا میں جو ارتہین تحریری طور پر، کو سمجھنے کے لئے ایک بار پھر، آرٹ بن جائے گا صرف اس طرح ایک معاشرے میں آرٹ موجود کر سکتے ہیں.
منشور کوئی نام، دستخط، شناخت، سخت ذمہ داریوں اور نذریں، الزامات اور رپورٹوں کی ضرورت ہوتی ہے. ارتہین انٹرنیشنل شامل ہونا چاہتے ہیں جنہوں نے صرف اپنے لئے کسی بھی ذمہ داریوں کو برداشت. یہ اس کے بنیادی خیالات کی تردید نہیں کرتا تو ہم منشور شرائط کی مسلسل علاوہ اور آئینی ترمیم کا خیر مقدم - بیوروکریسی، جبر، نسلی امتیاز پر مبنی اندوشواسوں، مردانہ حاکمیت، خوف کے امراض میں، اور سرمایہ دارانہ نظام کے خلاف جنگ.
دنیا بھر میں دیگر زبانوں میں منشور کا ترجمہ اور اس کی تقسیم کے تمام استقبال کر رہے ہیں!
- Written by Redas Diržys
The origin of Šumava Interpretation idea was shaped from so called tradition of interpretations starting from Niels Bohr’s and Werner Heisenberg‘s Copenhagen Interpretation (1927). It mostly dealt with the notions of complementarity which laid into the basis of ideas of Quantum Mechanics. It holds that the process of measuring the quantum objects produces the results that depend inherently upon the type of a measuring device that is used, and therefore they must necessarily be described in the terms of classical mechanics. To speak more generally – Copenhagen interpretation shaped basic features of experiment as phenomenon and distanced it from classical science which instead establishes authority of the units of measurement.
In 1962 Danish artist and one of the founding members of Situationist International in Silkeborg developed theoretical concerns of what later obtained the name of Silkeborg Interpretation. In fact it was an outcome of a genuine detournement of complementarity and the Copenhagen version of Quantum Mechanics - it appropriates and expands the context of Bohr’s doctrines. Bohr wanted his idea to transcend physics and claimed that complementarity was already affecting other domains of experience, though his arguments for these instances were quite simplistic so Jorn also found triolectics as solution to not to drown into dualisms. Moreover, Jorn claimed that the classical world picture belongs with the classical form of language and will perish with it. When Bohr saw possibly of complementarity in expanding the language of physics, Jorn proposed philosophy or arts to be complementary to science in whole approach. This is evident in his „invention“ of the so called three sided football, which explains all the mechanism of triolectics in a playful way:
HOMAGE TO MEL BOCHNER
- Written by Howard McCalebb
DAMTP COMMENT TO DADA BIRTHDAY CONFERENCE ON PEDAGOGICS /// ALYTUS, LITHUANIA
- Written by Tae Ateh
Firstly dada is often reduced to Duchamp, especially readymades (what is art/ what is not art) - when readymades were produced by Duchamp between 1913-1915 - before dada. Also Duchamp was hardly part of dada. He was on the periphery of dada.
Related to this, dada was very different in different places. eg in Berlin, Schwitters was (allegedly) excluded by Grosz and Huelsenbeck for not being politically engaged enough. On the other hand in Cologne Seiwert and the Cologne Progressives moved away from dada because it was not politically engaged enough...
Next i think what i did not mention at the event is that dada is connected to us through practice through a line of progression. And this line could feature: surrealism, letterism, situationism and neoism. it could be drawn differently too, eg cybernetic art, fluxus, telematic art, performance art or again: negritude, Harlem renaisance, africobra, agit art ... or again: jazz, beatnik, punk, hip hop ...
Also the question of women in dada and in art. someone spoke of glory - i think Howard. Dada was an anti-war movement. Art, like politics is the continuation of war through other means. war is traditionally a male dominated arena. But to go beyond the war/antiwar, art/antiart logic, we have to consciously do so - and talk of reproductive and destructive workers as well as psychic workers - in other words see the whole situation.
What also i am thinking about is the avant-garde. The avant-garde for me is about artists self-organising. in doing so becoming conscious of themselves as workers and the resources they use and share as workers. Of taking control of the means of production, distribution and
consumption, collectively. This means also having to come to a conscious relation to other workers. This for me is not about addressing the workers or educating the workers. it has to do with creating a way of organising that is in harmony with the wider movement of the working class as it organises itself. the problem of bolshevism is the separation of psychic workers into political and cultural workers as separate from economic or productive workers. This ignores the fact that artists and activists both produce things: books, publications, art works. making these available to the working class as samizdat, graffiti etc is is to do with self organising as workers in relation to other workers.
The Pedagogics of Dada
- Written by Howard McCalebb
Art practice is appraised within the exigency of its time. The Modern Art movements were pedagogical in spirit. In other worlds, they had as their missions to question through art practice, what their convictions were, about what Art was and what Art wasn't.
“Poetry springs from something deeper; it’s beyond intelligence. It may not even be linked with wisdom. It’s a thing of its own; it has a nature of its own.”
— Jorge Luis Borges.
Artwork is not just something made out of the appropriate materials, and simply called Art. All artwork are representations. Art making is a practice of representation, as the artist works within changing systems and codes, which act upon (affect) how and why artwork is produced, and how it is experienced.
The history of Modern Art is basically a series of lessons. It had long been understood that enlightenment and sophistication were to be acquired through an evolved education and exposure to advanced artworks. So then, what is the pedagogical value of a kind of artwork, that many believe their child can make? Was Modern Art a hoax? Without the esoteric keys, Modern Art left many people bewildered and irritated. The Dada art movement, for sure, requires specific information to open up its meaning and purpose, which also includes knowledge of the historical events that incubated its germination.
Does Dada offer one of Modern Art’s many lessons?
The pedagogics of Modern Art posed as a science of teaching. Modern Art attempted to impart advanced knowledge or sense that resulted from the direct experience of looking, seeing, and comprehending. It attempted to act as an example, by teaching things not previously understood or accepted, including tastes and attitudes that were regarded as nontraditional. Dada initiated a strong rebuke to conventional ways of seeing and understanding, by confronting viewers on how to see and understand cultural production.
Modern Art was produced from the late 1860s through the 1970s. It was a genre of art practice that strayed from traditional techniques and styles that rejected accepted forms to emphasized individual experimentation and sensibility. It was based on what was understood to be the “current” sociopolitical and cultural developments – of the epoch. The “modern” of Modern Art connotes its belonging to the present period in history. The Modern Art movements consisted of the latest, most advanced approaches to thinking and art making, using the most advanced materials, equipment, and techniques available – at that time. Their resources were those that had been “newly” developed. Modern Art understood itself as the latest and most recent stage in the development of a (cultural) language.
Pre-modern art practices were revered cultural institutions that had evolved over many generations. They prized artwork that exemplified a human endeavor for highly skilled technique, in the production of visual representations. Pre-modern art understood the notion of “culture”, i.e. the visual arts, music, literature, and related intellectual activities, as respecting the beliefs, customs, practices, and social behavior of a civilization of shared beliefs, that identified with and signed Europe as a particular culture.
Jorn and Trocchi 'United': An UnWorkshop in Practical Triolectics
- Written by DAMTP
An event scheduled as part of the revived AntiUniversity of London, November 2015 CE - http://www.antiuniversity.org/
To be held at the Omphalos of the British Empire (Meet by the Northwest Passage into Mudchute park - nearest transport Mudchute DLR, or Crossharbour)
On Saturday 21st November, at 3pm, affiliates of Strategic Optimism Football and the Luther Blissett Deptford League will present a workshop in practical triolectics, conducted via the medium of three-sided football, as part of the AntiUniversity programme.
Three-sided football - comprising three teams playing on a hexagonal pitch - was discovered by the Danish artist Asger Jorn in the 1960s, as a practical illustration of his attempts to dismantle the logic of binary thinking. Jorn also rejected transactional modes of knowledge transfer, instead favouring experimental activity. A supporter of the Situationist Bauhaus in Sweden, he believed such experiments fundamental to both psychic and social revolution. Underpinning Jorn’s approach was his unique ‘triloectical’ system. Developing upon dialectics and quantum physics, it went beyond linear transfers of energy, constructing spatio-temporal fields of possibility and negotiation. Not oppositional but superpositional – contradictions resolved by blending multiple simultaneous potentialities.
As a practical pedagogical exploration of the triolectical system, three-sided football stands in continuity with the aims of the AntiUniversity’s original protagonists, such as Jorn’s fellow ex-situationist, Alex Trocchi. The game has formerly been played at locations of psychogeographical significance around the world – from a forest at the centrepoint of Europe, to Taksim Square, to inside a Soviet fuel silo, to a druidic stone circle. This time we have selected the significant and challenging, if little known undulating terrain surrounding the Omphalos of the British Empire – constructed in the 16th Century by John Dee – as part of our ongoing campaign towards the psychogeographical unbinding of Eurocentric geometrical thought.
ALL AGES, ABILITIES, GENDERS WELCOME!
- Written by Howard McCalebb
To be or not to be an artist, or how to be an artist today?
- Written by Doroti Packova
We, the artists, are there to inspire, to provoke, to mobilize, to bring hope to people, we are like everybody else. We can't produce commodities to be sold on the market place, which is why our activities remain us alienated and deformed. The aim of progressive artists is to destroy their privileged role as specialized non-specialists, and to recognized different ways to recreated society and active participate in the construction of better world. Culture is a form of resistance.
„In its most general expression, critical art is a type of art that sets out to build awareness of the mechanisms of domination to turn the spectator into a conscious agent of world transformation. The quandary that plagues the project is well known. On the one hand, understanding does not, in and of itself, help to transform intellectual attitudes and situations. The exploited rarely require an explanation of the laws of exploitation. The dominated do not remain in subordination because they misunderstand the existing state of affairs but because they lack confidence in their capacity to transform it. [...] [Insofar as it asks viewers co discover the signs of Capital behind everyday objects and behaviors,] critical art risks being inscribed in the perpetuity of a world in which the transformation of things into signs is redoubled by the very excess of interpretative signs which brings things to lose their capacity of resistance.“ (Rancière, 2009: 45-6)
I provoke you, take what you've got and let's create some noise!
In unity with all the matters of value that oppose the ones of belonging and togetherness, I suggest all of us to endure in our battles for our dreams, for all the ones that were and are unable to kneel, the ones that canceled obedience in this foundation and epidemic province with an sole horizon of centrifugal insanity where nothing flows and nothing changes. I am very pleased we can begin a critical dialogue and re-construct the ruins of our lives, creations, efforts, art and culture. I am also excited that we open a whole new series of opportunities and actions so we can give resistance through clear libertarian and constructive attitude and elements of subversiveness at all levels.The need to create even in times of trouble, is the creative power that wе accumulate running through the bureaucratic labyrinths, the progressiveness of anti authoritarian structure of thoughts, the minds that manage to push against the attacks of the majority, the ability to deflect the mass hypnosis and all the shapes of rebellion as well as the last years practice of individuality and autonomy, are a result of two decades of suffocating the uniqueness and castration of the critical thought.
The entire phenomena of post-modern art is a battle, a battle for survival and a hope for independence and an effort to stay away from the everyday norms, rules, conventions and repeating the patterns as well as the unsuccessful social mechanisms and against the commercial goals. According to Liotari, the most important feature about art is the thing it does or the thing that it affects. The most important thing is to create any kind of potential energy that will make changes in the society. The rebellious desire can mostly be found in art that goes against the regime and the conventions. The authentic art is a powerful force that comes with privileges, a means for social critique and an instrument for liberation. The subversive art in action interrupts the established circulation of things and creates openness and with them a potential for changes within the area of the societal system that is closed and predictable and which we see as a battlefield where a lot of different ideologies stand. The relationship between the public the institutions and the society plays a major role to the importance of the act of subversive art action. We know that our society has been taken away from us, the institutions have been kidnapped and the public is being privatized so we prepare our fighting stance, we arm ourselves with subversion and wave the flags of individuality, resistance and autonomy all over the place, because wherever we saw our seeds we are banished by the autocrats so by default we become subversive, no matter if we wear different kinds of socks, if we dance on the streets or express different personal opinions.
So we have the choice to rewrite graffiti which call for universality and spread nationalism, sexism and political messages or we can choose to live in a different way, to create art plays or to create art from ourselves. If we choose the latter we will cause certain changes with the goal to create a different model for living in a more positive light, we change paradigms and establish the foundations for many new discourses which we will be thanked for by the future generations. If freedom is an illusion we leave it to the ones behind us!