AUGUST 18-23 /// 2015 /// RUGPJŪČIO 18-23



An event scheduled as part of the revived AntiUniversity of London, November 2015 CE -

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.


To bring art in everyday life and take risks without fear and always prioritize justice, even if everyone else thinks you are crazy, is the essence of being artist today.. 

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!

هل كان لدينا في  تھیا  تھی. قد تصبح  تھیا  تھی. كانت أشجار  تھیا  تھی الكلمات والغناء مثل القطار قلب ينبض وقد أعطيت لنا. كان  تھیا  تھی كارين إليوت ولوثر بليس ذلك في تقليد تعدد الهويات الجديدة تم اختيارها لهذا المشروع. كان الاسم الأول لا يظهر  تھیا  تھی اللقب لتكون محددة بين الجنسين كما تاي، وهي امرأة تنتمي إلى رجل أو كائنا يحتوي على ميزة.

في الوقت نفسه بعض لغات من عائلة يشير إلى الفتاة القديمة كما أثينا هو واضح من الإناث. كما أنه من الواضح غير الأوروبية. لأن هذا التفوق الأبيض والشياطين التوأم البطريركية هو الضربة المزدوجة. وبالتالي فإننا ندرك متفوقة على أي هويات متعددة السابقة. الرجل، لكن الرجل وليس فقط جهود الرجل أكثر من الماضي  تھیا  تھی تحديد المشروع (الصورة) عالقة في الثورة.  تھیا  تھی يدعو الاهتزاز آخر محطة والرنين في المناطق الداخلية للمصنع هو الاسم الذي يشير إلى.  تھیا  تھی كان لها اسما للأجنحة الفراشة.

 تھیا  تھی أي إنسان أو غير البشرية الفرد إلى أي شخص أو أي شيء والتي تمكن ثورة الإنسان الفردية هو الاسم الذي يشير إلى الأعماق. فمن الضروري لغير البشر إلى أن تعامل مثل البشر إلى أن تبدأ من قبل البشر، لذلك الإنسان كما  تھیا  تھی. إذا، التمييز على أساس الجنس والعنصرية الحد منه لدعم مفهوم الخصخصة على أنه نقد للثقافة الأوروبية يتم تضمين. الوحدة الوحدة في التعدد وفرة - كان مثل وظيفة جديدة في  تھیا  تھی تصبح اسما للفئة.

تم إصلاح الاسم، والناس لا يستخدمون ذلك. كان اسم  تھیا  تھی التكتيكية الإجراءات والتدخلات، والمعارض، والنصوص، وما إلى ذلك تشارك في أي شكل من الناتج نفسيا أو عضويا يستخدم عندما كان اسمك  تھیا  تھی يمكن اعتمادها لسلسلة. كثير من الناس مختلفة باستخدام نفس الاسم، وخاصة بوصفها المسؤولة والعملية الهوية، والفردية، والأصالة والقيمة، والإنسانية، والحقيقة لمهاجمة المفاهيم الفلسفية الغربية التي تخلق حالة هو ل.

أي شخص يمكن أن يسمى إلا من خلال اعتماد  تھیا  تھی.  تھیا  تھی يصبح كان لها وجود سابق بدأت باستخدام أسماء الإجراءات الآخرين يتكون من. وكانت عائلة  تھیا  تھی، على الوالدين، لا ولادة، أي ثقافة. كان هناك  تھیا  تھی، S / يصف الفرد والمجتمع في المنطقة كوسيلة لدخول المبنى، والتي تجسدها القوى الثورية. كان  تھیا  تھی الخنثى هو الوهمية الجماعي عبر الإنساني الدولي

Historisch betrachtet, seit wann/ wie werden in Gesellschaften Kunst und Kultur als Protestformen gebraucht?

Es ist schwer zu sagen, wie in der Antike zum Beispiel der künstlerische Protest umgesetzt wurde, da die Überlieferung in Bezug auf diese Frage durchaus spärlich ist. Wir wissen, daß es kritische Positionen in Politik und Kultur gegeben hat, aber wie exakt mögliche Formen von künstlerischem Protest ausgesehen haben mögen können wir heute nicht mehr sagen. Zählt man die Rhetorik zu einer künstlerischen Disziplin so sei Isokrates und seine Rhetorik-schule genannt, die eine progressive Alternative zu etablierten Strukturen (Akademie von Platon) darstellte und innovative Formen kultureller Organisation erarbeitete.

Meines Erachtens war die Kritik und andere Werkzeuge künstlerischen Protestes implizit in jeder künstlerischen Epoche, mehr oder minder, gegenwärtig. Im Mittelalter (bis einschließlich des Barock) wurde viel mit versteckten Symbolen gearbeitet. Es gab daher nur wenig öffentliche Kritik an herrschenden Strukturen wie Kirche oder feudalem Staat. Eine der wenigen bekannten Ausnahmen ist ein Werk von Peter Brueghel: „Kampf zwischen den Geldsäcken und Schatztruhen“, welches eine offene Denunziation des Krieges, als Mittel zur ökonomischen Bereicherung darstellt und bis heute seine entlarvende Aktualität beibehält.

Ich denke die erste Person in der Neuzeit, die die Denuziationsfähigkeit der Kunst erkannt und ganz bewusst kritische Kunst in vielen Zyklen ihres Schaffens eingesetzt hat, war Francisco Goya. Er war auch in der Lage mittels des Metalldruckes eine beachtliche Zahl an Reproduktionen seiner Arbeit zu veröffentlichen. Doch die massive Breite einer kritischen Kunst als gesellschaftliches Phänomen, oder einer künstlerischen Bewegung, kommt erst in der Moderne auf, mit stilistischen Rupturen, wie dem „Dada“, der „neuen Sachlichkeit“, oder der „russischen Avantgarde“ unter anderen. Die Plakatkunst, hierzulande hauptsächlich durch Heartfield vertreten, wird zum wichtigsten Werkzeug in der kritischen Kunst des 20ten Jahrhunderts. Vorläufer hiervon sind die künstlerischen und kulturellen Bewegungen um die Pariser Kommune.

Wie weichen die heutigen Formen von damals ab?

Die aktuellen Strömungen in der kritischen Kunst bedienen sich der Mittel der postmodernen Stile und Parameter und sind meist an situationistischen Positionen und Methoden angelehnt. Dennoch herrscht so etwas wie eine Doktrin der Medialisierung (Spektakularisierung) der kunst-aktivistischen Vermittlungsarbeit. Sprich, es herrscht ein markt- und medieneffizienter Faktor, der nicht ungeachtet bleiben kann. Grundmechanismen des kapitalistischen Propagandasystems, das die Freiheit der Kunst zwar nach außen proklamiert und fördert, gleichzeitig aber, kognitiv-dissonant unterminiert und somit neutralisiert.

Es unterminiert die Freiheit der Kunst durch die Doktrin der Verwertungslogik, welche eine freie Entfaltung künstlerischer Innovation durch Sachzwang-gebundene Zusammenhänge gar nicht erst zulässt und nicht in der Lage ist die nötigen Parameter für eine freie Entfaltung zu schaffen. Ferner werden Situationen und Aktionen produziert die zu medialen Konsumgütern degradiert werden und bald wieder aus dem (kollektiven) Gedächtnis verschwunden sind. Es müssen immer neuere, spektakulärere Aktionen entworfen werden, die wie Events von regionalen und manchmal auch internationalen Presseorganen aufgenommen werden. Eine nachhaltige Recherche bei einzelnen Themen wird oft unterlassen. Kognitive Dissonanzen bilden häufiger den Grundbaustein der kunst-aktivistischen Arbeit, statt auf fundamentierter Recherche basierendes Wissen.

Wenn zum Beispiel ein „Zentrum für politische Schönheit“ auf der BB7 gegen die Besitzerfamilie vom Waffenhersteller Kraus Maffei Wegmann eine Kampagne fährt, aber in den Interviews erklärt, daß sie ja nicht generell gegen den Handel mit Waffen sind, wie in diesem speziellen Fall der Panzer für Saudi Arabien, dann ist keine Glaubwürdigkeit in der politischen, oder politisch motivierten Kunst zu erwarten. Diese Gruppe ist eines der offensivsten Künstlerkollektive in Sachen Migrationspolitik mit medial Aufsehen erregenden Aktivitäten, denen viele Aktivist_innen in jüngster Vergangenheit gefolgt sind, um dann kürzlich in einem Interview von Herrn „Luftkriegs-Humanist“ Ruch zu erfahren, daß man ja militärische Operationen im Syrischen Luftraum begrüßt und diese sogar erweitert werden sollten. (Shermin Langhoffs "Kulturzeit" Geburtstagssendung am 2. Oktober 2015) Für eine progressive, kritische Kultur sehr krude Thesen, vor allem auch deswegen, weil mit keinem Wort auf die Ursachen dieser Kriege eingegangen wird, die letztendlich, die nicht enden wollenden Flüchtlingsströme auslösen. Es handelt sich hierbei um eines der Hauptthemen dieser Gruppe die ihre angeblich kritische Arbeit eben nicht über den medialen Hype hinaus denkt. So stellt sich die Frage nach dem Zweck dieser aktivistischen Aktionen, mal abgesehen vom Füttern des Künstleregos, welches auch als Kollektiv seine volle Wirkung entfalten kann.

kick off!

At the regular after school football club that I take Rumi to, a parent remarked that football is a great activity allowing for physical exercise and building teamwork skills and there is nothing bad about it at all. It occurred to me that the only downside is excessive competitiveness. In a capitalist society we are constantly surrounded by a polarising logic of winners and losers and this can be very destructive. This binary logic pervades much of society and manifests in various situations - eg male/female, right/wrong black/white etc so that we are often blinded to what is really happening and to the possibilities that exist or can be brought into existence.

This spectacular situation often means that many people get left out or excluded from football and sports in general. Having been recently diagnosed with ME/CFS myself and becoming disabled over the last year, I know how this feels. It also means that I can start to miss out on activities with friends, family,including my children - as events seldom cater for inclusivity...

.... and so it also occurred to me that 3 sided football would be the perfect antidote to this situation !... and so I emailed round some fellow "reproductive workers"- friends of mine with kids, and friends of Rumi's parents and I was very happy when a few people responded favourably.. . and so we organised the first game in Cambridge for Sunday 20th Sept 2015!

We managed to borrow some cones for goal posts from my own housing association and headed down to Parkers Piece with Rumi and Zevi. It was only when we got there that I remembered we had forgotten a football! So we went back, got them and returned. It was all getting to be too much for me, with parking the car and having to get the boys and these cones to the field, but luckily Jolyon, Jackson and his crew had arrived and Jolyon managed to balance the 9 cones and carry them to the field while kicking the 2 footballs in front of him ...We met up en-route and found the rest of the players ! We divided ourselves into 3 teams - the 2 adults were the first 2 captains (an ageist bias?) the teams were: The Lion Heads (Jolyon and Eleanor), Golden Eagles (Jackson and Rumi) and Skull Duggers (James, Zevi and me) !

Incidently when Jolyon had asked about what colours to wear, he had suggested red, white and blue teams. I remembered the experimental "quantum chromodynamic" scoring system and so suggested red blue and yellow or green. When I got ready, Rumi was in blue, Zevi in red and I was in green - this was entirely "coincidental" The colours on the pitch at the start of the match were interestingly red, blue, yellow, green and black!

We had to discuss the new scoring system and this took a little time for us all to understand. We played 3 halves (or thirds) of 5-10 minutes each. After the first half (third!) Guy, Rosa, Evie and Caleb joined us. One of the most interesting things while playing was how as an adult/parent, I was much more aware of the team dynamics not just in my own team but other teams too. After the game we discussed alternative scoring methods - I drew on the quantum chromodynamic ideas from d3fc - and suggested we score each other on friendliness, competitiveness and inventiveness! Some of the other players thought it be more fun to score ourselves - I think in future games it would be fun to look at how to combine qualitative and quantitative methods of scoring.

[scroll for english version below]


(отвечает Екатерина Самигулина, которая говорит от имени AsemicInternational)

1. Как вы думаете, является ли асемическое письмо частью визуальной поэзии, или же это что-то кардинально иное?

Асемическое письмо – достаточно сложное в силу своей амбивалентной природы явление, поэтому говорить о чёткой принадлежности его к «письму» (в предельно общем смысле) или живописи представляется не совсем корректным. Тем не менее, попытка классифицировать асемическое письмо как новый тип визуальной поэзии задаёт интересный вектор исследования в сторону истории визуальных практик и переосмысления этого наследия в асемическом поле. Визуальная поэзия носит синтетический характер, иначе говоря, представляет собой симбиоз некоего конвенционального знака и рисунка, а также применение категорий живописи (цвет, пространство, фактура, композиция и т.д.) к этому самому конвенциональному знаку (будь то буква, число или любой иной опознаваемый символ). Употребление знака в визуальном тексте уже само по себе предполагает наличие пусть и не целостного (как в случае классического линейного произведения), а дискретного, но смысла. Означающие в визуальной поэзии не теряют своего содержания полностью, а лишь «растворяют» его в композиционном единстве, существуя, таким образом, одновременно в двух пространствах – пространстве текста и пространстве рисунка. Именно эта синтетическая природа и позволяет нам относить то или иное произведение к области визуальной поэзии. Однако в случае с асемическим письмом говорить о собственно синтезе как принципе создания не представляется возможным, т.к. «литературные» (и шире - знаковые) категории применяются здесь к стилизованной под письмо линии (мазку кисти или штриху пера), т.е. асемический анти-знак изначально носит не текстовую, а живописную природу. Если здесь и возможно вести речь о синтезе, то только о синтезе более сложного порядка: метафора «текста как такового» распространяется на движение руки художника, сообщая ему интенцию не живописания, но письма – письма в отсутствие какого-либо закреплённого кода, кроме эмоционально трактуемых характеристик самой линии – нажима, цвета, толщины и т.д. Асемическое письмо – это одновременно попытка посмотреть на живопись как на текст и, что более важно, - посмотреть на язык (в его национальном варианте или дописьменном/детском состоянии) как на образ, способный быть реализованным визуально без привлечения собственно языковых средств. Иначе говоря, асемическое письмо – это беззнаковая трактовка художником того или иного языка (или языка вообще, языка как почерка или шрифта), создание образа этого языка.

В традиционной, текстовой литературе мы постоянно сталкиваемся с образами языка разных групп населения, классов, сообществ и т.д., - образами, созданными писателями в соответствии с их вИдением этих языковых стихий. В асемическом произведении происходит, по сути, то же самое, мы наблюдаем своеобразную параллель между ним [асемическим письмом] и литературой: подобно тому как писатель, даже не отдавая себе в этом отчёта, пользуется «словарём эпохи» и создаёт концентрированный облик этого словаря, так и художник-асемист даже неосознанно воспроизводит почерковую или шрифтовую традицию того языка, которому он подражает. Однако художник-асемист идёт дальше писателя: если, например, по стихотворениям гениального Ли Бо восстанавливается только языковой колорит Китая 8 века нашей эры, то страницы «Книги с Небес» Ху Бинга разворачивают перед нами метафору китайского языка вообще – не только с точки зрения узаконенной письменности, но и с точки зрения характера письма, его отличительных особенностей. «Книга с Небес» любым жителем планеты будет опознана как китайская, равно как и письмена Жан-Кристофа Гиаготтино будут причислены к арабской группе языков.

Возвращаясь к визуальной поэзии, следует сказать, что создание образа языка практически никогда не является её целью, более того, учитывая распространённость (если, конечно, не говорить о визуальной поэзии эпохи барокко J) использования её создателями современных технологий – собственно, к печатному (сегодняшний аналог – фотошопные шрифты и «спецэффекты») шрифту с самого начала прибегали очень многие поэты-визуалисты (дадаисты, конструктивисты…), - то, скорее, можно говорить о знаках визуальной поэзии как о знаках интернациональных, или безликих. Значение в визуальной поэзии имеет не характер отдельно взятого знака, но композиционно-смысловое расположение всех использованных знаков на листе. Безусловно, грубость конструктивистского шрифта, разрабатываемого в недрах ИНХУКа, отображает определённое восприятие русского языка в революционную эпоху, русского языка как языка класса пролетариата (что роднит опыты русского авангарда с современным асемическим письмом), но стоит признать, что в большинстве своём визуальная поэзия задач по производству нового (в русском варианте 1910-1930-х – «не буржуазного») образа языка не ставила никогда. Кроме того, «авангардистский» образ русского языка – это не образ русского языка «вообще».

Суммируя вышесказанное, мы становимся в своеобразный логический тупик J. С одной стороны, асемическое письмо, будучи не синтетическим по своей природе, не может быть отнесено к области визуальной поэзии. С другой стороны, использование типично живописных средств ведёт к созданию образа – что, казалось бы, сразу причисляет асемическое письмо к сфере художественной, – но не просто образа, а образа языка, что тут же выводит нас из области живописи и мгновенно переориентирует на литературу. Однако литература использует знаки, а в «тексте» с диагнозом «асемия» их нет (хотя психологически человек тяготеет к созданию однотипных элементов, в определённом ракурсе могущих быть классифицированными как знаки). Всё это наталкивает нас только на один вывод: асемическое письмо – это пограничная (но всё же не «синтетическая») зона между письмом и живописью, некое переходное явление, которое так никогда перехода и не совершит (в этом случае оно перестанет быть собой, перейдя в область либо визуальной поэзии, либо живописи). Мы предлагаем закрепить собственно термин «асемическое письмо» за новым видом искусства, не имеющим аналогов и потому не соответствующим и не входящим ни в одну из существующих классификаций. Асемическое письмо – это не визуальная поэзия и не живопись. Асемическое письмо – это асемическое письмо.
DAMTP cc V TRavailEurs DAWOUrésdefluxus-DAMTP Nr.12, autumn equinox 7PC edition [2015] presents materials from Alytus Psychic Strike Biennial: 3 sided football and further situology. Moreover after 36-year psychic break DEWOU-DAMTP cordially accepts the souls of dead fluxus artists who finally got to their destination hart island and continues on since their last issue ccVTRE No.11 was published in 1979. We refer to the 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:

All other DAMTP editions in PDF's are available here:

Tarptautininis seminaras-konferencija dailės mokyklų mokytojams ir bendruomenėms „DAilės eDukAcija ir DADA“ - 2015 m. spalio 8-9 d.

Lietuvos DAilės mokyklų mokytojų DAilės paroDA - 2015 m. spalio 9-23 d.

Vieta: Alytaus kraštotyros muziejus, Savanorių g. 6, Alytus.

Spalio 8 d.

10.00 – 11.00 val. DAlyvių atvykimas ir registracija.

11.00 – 11.30 val. Įžanginė kalba – Alytaus DAilės mokyklos direktorius ReDAs Diržys. DAlyvių pristatymas.

11.30 – 14.00 val. Atvira DiskusijA DADA palikimo istorifikacijos, jos sąsajų su eDukAcija ir kultūra bei šiandienos kontrkultūrinių iššūkių temomis (anglų k.; pagal pageidavimą – tezinis vertimas į lietuvių kalbą). DAlyvauja:

Howard McCalebb (Vokietija/JAV), skulptorius, dėstė meno universitetuose Niujorke, galerijos DADAPOST įkūrėjas Berlyne: dauguma modernistinių meno judėjimų (neišskiriant ir DADA) savo DvAsia buvo eDukAciniai – jų misija buvo per meno praktikas kvestionuoti kas yra ir kas nėra menas. Menas nėra vien kažkas, pagamintas iš atitinkamų medžiagų ir pavadintas menu.

Fabian Tompsett (LonDonAs, JK), leidėjas, wikiaktyvistas, wikiversiteto kaip eDukAcinės alternatyvos kūrėjas, siejamas su Londono psichogeografijos asociacijos (LPA), Autonominių astronautų asociacijos (AAA) veikla: mane sudomino ryšys tarp El Lissitzkio, DADAistų ir Kelno progresyvistų GerDo Arntzo bei Franzo Seiwerto. Jie bandė apjungti DADAizmą ir konstruktyvizmą. Lissitzkis neabejotinai buvo dualistinių pažiūrų, kurias greičiausiai perėmė iš Lenino. Tuo tarpu Arntzas ilgainiui suartėjo su Otto Neurathu ir vizualiąja eDukAcija.

Asim (JK/Pakistanas), kvantumletristas, wikiversity meno skyriaus kūrėjas, eksperimentinės eDukAcijos situacijų organizatorius.

Ivan Mečl (Čekija), žurnalo apie šiuolaikinį radikalų meną ir kultūrą „Umelec (Artist) international“ leidėjas, Prahos kabareto, Divus, Perla ir kitų iniciatyvų įkūrėjas, pedagogikoje save įvardina kaip meno ir istorijos stereotipų laužytoją: „beprasmybė yra laisvė, o nušvitimas dėl vertybių tironijos visuomet ateina per vėlai“.

Diskusiją moderuoja ReDAs Diržys
Fellow workers,

Greetings from the DAta Miners Travailleuse Psychique
Dead Workers Union (damtp-dewou) and the REproductiVe wOrkers and Lovers

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We are calling on you to assist in the cancelling of the deportation of
Mabel G. Mabel's deportation is scheduled for this Tuesday, 6th October at
8.00pm from Heathrow Terminal 4 on Kenya Airways flight KQ101 to Nairobi,
transferring to Air Namibia flights SW2373 to Lusaka & SW413 Lusaka to

To fellow workers of Kenyan High Commission in London

Refuse to collaborate with the racist neo-colonialist state of Britain.

Organise as psychic workers now

To Kenya Airways and Air Namibia:
Refuse all orders of the racist and imperialist British government and the
neo-colonial Kenyan administration.

Assist in the transportation of refugees and working class migrants into
the UK not the other way round!

Organise as psychic workers now

To fellow workers of the UK Home Office:

Cancel this deportation now.

Refuse all orders of the racist and imperialist British government.

Organise as psychic workers now



Европейцы – избавьтесь от буржуазной категории Европы! Организовывайтесь как психические рабочие!

Активисты! Отклоните буржуазную категорию политики! Организовывайтесь как психические рабочие!

Сетевые активисты! Отклоните буржуазные понятия «друг» и начинайте организовываться как психические рабочие!


Проблема прекариата. Возможность создание левой партии нового типа.

Что меня сподвигло начать писать это ессе?


В первую очередь, книга Гая Стэндинга «Прекариат: Новый опасный класс». Мысли либерала, который вникает в суть происходящих по всему миру событий в экономике, политике и социальной сфере много больше и основательней левых теоретиков, но боится собственным мыслей столь же сильно, как европейские буржуа боялись «призрака коммунизма» в середине 19-го века. Будь Стэндинг левым, он бы знал ответы на поставленные вопросы, понимал неизбежность и необходимость мировой революции, которая раз и навсегда покончит с капитализмом.


Вторым немаловажным аспектом для написания эссе явилась сама жизнь, практика масс. Проблема с мигрантами и беженцами из стран третьего мира, которые сегодня массово наполняют Европу.


Но начнем мы издалека, а именно с Манифеста коммунистической партии К. Маркса и Ф. Энгельса (1848 г.) Да, многие левые теоретики читают его вполне внимательно, дотошно, но исключительно как исторический документ. Левым не хватает гибкости ума, подлинной диалектики, чтобы сесть и переписать манифест заново, с учетом новых реалий 21-го века, с учетом побед капитализма и поражений левых партий и движений по всему миру.


The theme to this years exploration of 3sf at the biennale is Superposition/Superimposition. It is a very appropriate way of looking at three sided football for it requires us to look at 3sf not only as a game played by kicking a ball around a field – or a forest if you live in Lithuania – but as a game within the context of culture.

Three sided football has now been with us for 50 years – of which it is only the last 20 that have witnessed its experimental realisation. In true cybernetic fashion, the more it has been explored, the more the feedback from each game has allowed its arena of operation to expand.

Most of you probably know that three sided football was developed by Asger Jorn in 1962 - ostensibly as a metaphor for explaining how his theory of triolectics could be understood in a real world situation. In reality - three sided football was actually a deceptively simple way of conveying the complexities of his entire life’s work. My presentation at the conference on three sided football at least years World Cup in Silkeborg examined in detail the means by which 3sf managed to encapsulate Jorns thought - and I don’t propose to repeat it right now – but if anyone is interested I have it with me and would be delighted to present this again later in the biennale.

When it was picked up Fabian Tompsett in 1994 and the first game was actually PLAYED, three sided football was seen simply as a means of vitalising tedious debates on Anarchism into dynamic lived experiences. Today Three sided football is being played on an increasing basis around the world – with new and exiting possibilities for its understanding emerging at a startling rate.

So what I want to do today is to look at how three sided football operates as a multi layered transformative cultural morphology – shape shifting like a viscous flow through every arena into which it has been introduced. Like a hydra – three sided football has started growing exponentially with every iteration – each of which superimposes itself onto the original conception, enriching, complexifying, and diversifying. With the sum of every part being greater than the whole – the expansion and diversification of three sided football is starting to be understood as the means of its true expression.

So let us take a look at the various ways of understaning three sided that I know about – and after I have finished maybe you can help expand this collection with your own.

1.      testing out asger jorns hypotheis –

was it correct. Would playing 3sf be defensive and boring but ultimately lead to an explosion. Would the onset of the explosion result in a few hightened moments of spontaneous exaltation. From wnla in the 90’s onwards there has been a history in the UK of putting into practise the various therories of the SI – as so little in the documantation about them shows what happens. Jorns theory of triolectics is a notable example. Did Jorn mean this to be LIVED – was it really a set of suggestions for behaviour or an analysis of societal cureents.

2. Constructed situation

Because of the nature of this event – I probably don’t have to say too much about the Situationist project. But for those who are unfamiliar with SI ideas – here is very short intro. Essential to situationist theory is the concept of the spectacle, a unified critique of advanced capitalism of which a primary concern is the progressively increasing tendency towards the expression and mediation of social relations through objects.Situationists believe that the shift from individual expression through directly lived experiences, or the first-hand fulfillment of authentic desires, to individual expression by proxy through the exchange or consumption of commodities, or passive second-hand alienation, inflicts significant and far-reaching damage to the quality of human life for both individuals and society.A central concept of situationist theory is how this objectified alienation can be counteracted – and the principal means imagined is via the construction of situations, moments of life deliberately constructed for the purpose of reawakening and pursuing authentic desires, experiencing the feeling of life and adventure, and the liberation of everyday life.

For many players who approach 3sf through the filter of the SI a common reason is a belief that participation in the game involves the realisation of the Constructed Situataion - whether this be the localised play of the one off game – or in the production of a larger body of “work’ which then constitutes a more involved and complex evolution of the Constructed Situation. Like those who see 3sf as a testing of Jorns theory of triolectics - those focused more on the constructed situation also see their activities as a lived development of situationist praxis.

2015 m. Alytaus bienalėje į(si)steigė organizacija (OPSINA), kuri apsiėmė koordinuoti, kad (re)produktyvieji darbininkai galėtų malšinti destruktyviuosius darbininkus, o ne atvirkščiai. Ši organizacija kartu su pasaulio psichodarbininkais prisiima visą atsakomybę dėl 2015 m. rugpjūčio 20 d. akcijos prieš G4S būstinę Alytuje.

Nors esame kritiški bet kokios formos nacionalizmo atžvilgiu ir dėl šios priežasties nesame prieš Izraelį nukreiptos kampanijos (BDS) dalis, mes prisijungiame prie Nacionalinių Islamo pajėgų ir Nacionalinio Palestinos kalinių judėjimo, atliepdami į ketvirtąjį, atvirai revoliucinį, jų tarptautinio atsišaukimo punktą:

„Mes kviečiame prisijungti prie tarptautinės kampanijos, reikalaujančios išlaisvinti kalinius; pirmiausia paleisti sergančiuosius, po to politinius kalinius, moteris, vaikus, ir galų gale nutraukti kankinimus visuose kalėjimuose ir sulaikymo centruose“.

Be to, kad G4S atlieka svarbų vaidmenį represuojant palestiniečius kalinius Izraelio kalėjimuose, ji yra iš esmės kapitalistinė korporacija, skleidžianti savo nuodingus čiuptuvus visame pasaulyje ir nuosekliai privatizuojanti viešąją erdvę. Savo ruožtu mes kviečiame visus G4S darbuotojus organizuotis į darbininkų organizacijas ir laipsniškai perimti šios destruktyvios struktūros kontrolę, kol ji neprarijo jų pačių.

Mes esame pasirengę prisijungti prie proletarinės (savi)organizacijos ir taip skatinti klasinės savimonės brandą. Išreikšdami savo solidarumą mes surengėme revoliucinio animizmo antpuolį prieš G4S padalinį Alytuje ir tokiu būdu trumpam neutralizavome destruktyviųjų darbuotojų agresiją. Tokiu būdu mes solidarizavomės ne tik su palestiniečių kalinių, bet ir su viso pasaulio kalėjimuose ir koncentracijos stovyklose laikomų žmonių pasipriešinimu prievartai. Mes teigiame – niekas šioje planetoje niekada nebus laisvas tol, kol joje bus bent vienas asmuo, kuriam apribota laisvė!

Mes kviečiame ir toliau imtis įvairių protesto formų prieš G4S korporaciją ir jos padalinius visame pasaulyje – prieš žudymo, neteisybės ir prievartos mašiną!

DAta Miners & Travailleurs Psychique – DAMTP


Alytaus bienalės organizacinis komitetas – ABRAKADABRA-C.


OPSINA (cOmmitee for the coordination of the psychic workers Plenary to Submit to reproductIve aNd productive workers And dominate destructive workers (OPSINA)  and DAMTP (Data Miners Travailleuse Psychique) conducted a psychic attack against G4S facility at Swedbank compound in Alytus.

While we have a critical position towards all nationalisms and are for this reason not a part of the BDS movement, we responded to the call from National and Islamic Forces /  National Palestinian Prisoners’ Movement with regard to their 4th point which we see as a revolutionary call:

“Fourth, we call for the launch and expansion of an international campaign with wide support and participation to demand the freedom of prisoners, beginning with the sick prisoners, administrative detainees, women, and child prisoners, and to end the use of torture in prisons and detention centers.”

G4S are a key capitalist corporation – expanding their activities around the world as states privatise key public concerns. We see this as an important area for proletarianisation and call on all G4S workers to join psychic workers unions, reproductive workers unions, destructive workers unions and other situnions as they see fit.

We extend our solidarity to all reproductive workers and nations of workers in order to foster class consciousness of the situation that extends globally to affect us all as workers and only by wahdat as workers can we organise against this.

On Thursday, August 20th we conducted a DesaKalaPatra Action including Situpathic, Situlogic, Situphonic, Situchemical, Situgraphical and Situlingual Wahdat – in short a Revolutionary Animist assault on the G4S facility in our immediate locality, against the destructive workers of G4S and in solidarity and support with prisoners and reproductive workers not just in Palestine but also in detentions centres, prisons and other concentration camps all around the world.

To end we echo the call for actiOn against G4S:
“Finally, we salute you as we see you as the voice of conscience that confronts the killing machine, injustice and oppression.”

DAta Miners & Travailleurs Psychique (DAMTP)

cOmmitee for the coordination of the psychic workers Plenary to Submit to reproductIve aNd productive workers And dominate destructive workers (OPSINA)

Alytus Biennial Reversion into Abolition of Culture And Distribution of its Aberrant Bacillus Right Abroad – Committee (ABRACADABRA-C)

The title is disappointment, because it is true. When last days I heard critical voices saying things like repetition – when speaking about the structure of Psychic Strike Biennial I realized I must write something about my experience with vibrations around Alytaus Dailés Mokykla – which I have participated, hopefully co-created and witnessed for last 18 years. The word “co-created” please read in the non-appropriative sense. Somehow I felt being part of many things happening there on various levels.

The title is a failure – but the only way I am able to write of it is from the position of myself – that means in the text there will be many ”I”s. What happened to me is that repeatedly coming to Alytus caused development in opposite direction – trying to suppress ”I” in myself and also the ambition of my role in the event. When Mario came to me this year with the printed program asking if I could show him there when is my turn (probably as the gentle way to learn how to call me) I was excited to see there was not my name mentioned in the text. So fantastic! I was so thankful to Redas to invite me even when knowing I cannot make any concrete contribution. In this logic I also didn’t want to write anything after – any report or text like this. To reduce the amount of words around, or if not to reduce, not to increase. So – also writing this reflection is a contradiction.

I was asked what I think about repeating structure of this event not only by Asim – who has been the key person of the last years but also by Fabio, who was here for the first time. That shows that it became a topic. And also Redas spoke about the same. Does it mean that the event reached its fulfilment and from now on it could only petrify into repetitive rituals?

Is this signal to finish?

I don’t know. Finishing is ok. But I want to try to see why this development could become unpleasant to some participants. And why on the other hand it was so breaking surprising for me. Let’s skip other things before and focus on the biennials – which have happened last 12 years. In the beginning it was gathering of artists – mostly friends – with the aim to create or present their/our artworks. It was also fantastic. But the discussions then – especially towards the end of the event – were becoming technical – mostly about solving the production problems: how, where, when and what is needed to let each of us shine. Then the focus shifted to socio political critical alternatives – other options or essential changes – with activist potential of action. I identified with the direction, but hated the words we used – most of them for me totally devaluated by fake applying during the communist times in my country: worker, comrade, class …etc. But we didn’t find better words to use. I felt stuck. No words to express what I/we wanted to express. But also – I felt being more part of “we”, not so much guarding and promoting the individual position. In fact I was looking for occasions to merge with the opinions of the others (which was really not easy). Last biennial was a tipping point for me. First time besides pleasures of unsuccessful looking for definitions I experienced becoming part of the jam session in a broader sense without critical thinking of what was happening, what we were doing, if it was new, repetitive, well looking/sounding, what quality, …etc. I know – in general nothing new – but for me – who was brought up in individualistic – self controlled manner – something unbelievable. And when this year we turned to cover name: revolutionary animism – which fortunately at the end nobody – including Ben – its inventor – had no idea what it could mean – and unstable words gave space to not so consistent clay – and with exception of few attempts by Katya and Yulik from Belarus , where one can still read the society using classic expressions: worker, class struggle …etc. with no political songs and any slogans – and only mood, wish for something else – which probably everybody would describe differently – lead us to well disharmonise for few moments, I felt that there was much less confusion than before – at least in myself – and even in supra-posed 3 sided football it was easy to quickly accommodate - yes, indeed, this might be an excuse and reason not to prolong – to finish. So for finishing I find only egoistic, self-projective, self-centric arguments. No way to create the front, the party, to unify powers for action, at least not at this time, in this constellation, with this bunch of different minds. This in my opinion is also why this shift can be unpleasant to some revolutionary minds from us. For me leaving the verbal world was a surprising experience and a big relief. Thanks Redas.

If paradoxically go back to the age of slogans I would suggest:


(The biannual gathering of psychic workers and data miners and those who are thinking being close///kasdumetinis psichodarbininkų, duomenkasių ir jiems prijaučiančiųjų sambūris)


Venue///vieta: Alytus Art School///Alytaus dailės mokykla///S. Dariaus ir S. Girėno g. 25, Alytus, Lithuania///Lietuva

Program for the event (draft – the process is in continuous self-shaping)

Programa (nuolat besiformuojanti)

OPSINA note: Last time (in 2013) I proposed an initial plenary to give preference to the voices of women and black people in setting the agenda. But I never really saw this through so I would like to rectify this error on my part. I would like to suggest a similar device. A plenary for the presidence of reproductive workers, productive workers and other psychic workers. Also a plenary for the domination of destructive workers at the same space time class. I will be happy to take responsibility for the coordination of the plenary as the cOmmitee for the coordination of the psychic workers Plenary to Submit to reproductIve aNd productive workers And dominate destructive workers (OPSINA). - Opsina will begin on tuesday evening since I do not arrive until then. Unless anyone else who is present on monday can take responsibility for it on that day...
[2013 m. Alytaus bienalėje buvo numatyta pirmenybė keisti darbotvarkę bei moderuoti diskusijas deputatėms moterims ir visiems ne baltos odos spalvos dalyviams, bet tai neįvyko. Todėl 2015 m. bienalėje į(si)steigė organizacija (OPSINA), kuri koordinuos, kad (re)produktyvieji darbininkės/darbininkai galėtų vadovauti destruktyviesiems darbininkams, o ne atvirkščiai. Kadangi OPSINA atvyksta tik antradienį vakare – ji prašo tuo pasirūpinti ir nuo pat bienalės pradžios].

7.00 – 9.00. [every morning starting from Wednesday]. Morning Exercises - a practice which derives from an activity organised in London during the English Revolution in response to concerns about loved ones in the Army fighting to restrain the King. These exercises have started by focussing on the critique of "visualism" developed by the Anthropologist Johannes Fabian. (continuation of the ideas developed in Alytus Psychic Strike Biennial in 2013 – more at: and combining it with clay animism.
[Rytinė mankšta  - Anglijos revoliucijos laikus siekianti pilietinė praktika, kurią vykdė prieš karalių kariaujančiųjų artimieji Londone. Antropologo Johanneso Fabiano vizualizmo kritika derinama su molio gydomuoju animizmu].

SITUOCHEMISTRY. So far the naturaly found radium is apparent in clay, in advance of the event it will be left to be charged with solar energy and we‘ll release the energy for common use: clay therapy (included into Morning Exercises as continued activity since last biennial of 2013), clay healing, clay plastics, clay as protection, clay as a weapon, clay as building material, clay as protest, clay as hypergraphics, clay as metagraphics, clay sound, clay as intra-personal substrata, clay as inter-personal substrata – Benas Šarka & Redas Diržys & Martin Zet
[molis kaip gydymas, apsauga, plastika, apsirengimas, ginklas, garsas, protestas, statybinė priemonė, metagrafika, hipergrafika]

Tuesday, August 18th/// antradienis, rugpjūčio 18 d.


10.00 – plenary meeting///susirinkimas. International students of Alytus College from African and Asian countries are invited to join the biennial and to share their experiences.

Clay is the oldest means for healing of all disbalances in nature. As a material clay reveals itself as living matter which empowers us to call it a person and communicate on materialist-animist-communist level interpersonally. In the age of neoliberalist capitalism clay reveals herself as true proletarian medicine as alternative to corporational chemistry - it's because clay is cheap and effective. here we want to present you some fragments from the healing instructions elaborated in  Crimea medical clinics during the soviet times and still are practiced by counter-capitalist enthusiasts.

The human body is designed so that it must fight its diseases and ailments, but since it does not have its strength, we must help it.
While cleansing the body and its renewal the stabilization is obtained and immunity is developed – so the body heals itself.
The best medicine is the nature itself. One of the invaluable treasures - is white/blue clay. It took more than five hundred million years ago and it is a product of primitive processing plants - equisetum, ferns, and marine organisms.

The older the clay belt, the lighter the color of kaolinites. Clay lies the highest quality at a great depth, at the level of 30-60 meters from the soil surface and is "living matter" of the earth.
White and blue color corresponds to 39 elements of the periodic table and it's rare elements. The amount of silica in clay is about 50 %. Silicon - one of the most common elements on earth, without which there would be no life on our planet. Silicon is a part of all plants and living organisms. Silica ratio in human blood about 1:100,000. If it decreases a person begins to "feel the weather", the general physical condition deteriorates.
Silicon deficiency in the body can lead to rapid aging, and to such diseases: arthritis, atherosclerosis and cancer.
One conclusion: it is necessary to timely replenish body reserves of silica. Here clay is simply irreplaceable.

Clay minerals contain almost all of which is human or animal. Electrolyte composition of clay is a good carrier of energy. Therefore, the body is an exchange of energy. Clay excretes out dirty energy, releasing blockages, and the body is charged by the energy of clay minerals, plants, and vital energy is added of the fluid in which clay is dispersed.

Bulgarian healer Ivan Yotov with clay cures everything except cancer of fourth degree - when the capsule of cells burst and can not give back its mud to clay.
Clay is able to absorb the disease. It absorbs and removes toxins from the body - pus, odors, liquids, gases - that is all negative and harmful.
Identity = language

It is the trimension of PATRA ("meaning" or "class" - it is impossible to truly translate this into english because it is a new concept for europe)

Dimensions of PATRA can be translated maybe as:

Letter - word - text - volume


Letter - name - nation - situation

And the negative dimensions:

Asemic - Abstraction .....  annihilation?

All writing falls into a relation with all other writing through the data accumulation and processing through the internet. Therefore it is not words but the formation of letters in dialogue with each other that identity is ultimately formed. Letters of course are of alphabets and languages known and unknown. In the process of being made and unmade.

So we can do a new applicatin of the DesaKalaPatraGraph (with each layer on a separate transparent sheet):

First we paint or produce on Desa layer :

Spacial mapping -= making maps to show our journeys

Second we make the Kala layer :

Abstract / non objective - graphs or temporal charts to show our movement through the time - eras or ages

Last we make the Patra layer:

Between Asemic and Letters - up to texts in different languages

And also we must make this in digital form - using the DKPgraph made by Lukas as a starting point for experimentation.

“Culture has its way of being expressed through every artwork created. But a strictly cultural interpretation of art practice dismisses the innate drive that inspires the human being to create, and maximizes the hubris of sociopolitical life and the historicism that follows. The most compelling, unnerving examples of the primal forces that motivate humankind are experienced through Art. The ambition here is to present a philosophical stand, that positions the innate urge of the individual to create as primary, and as independent of the policies of (what may be mistaken for) official culture. It is my position that art practice must remain independent of cultural mandate.” Page 6.

“Culture is self-perpetuating theater that varies from region to region. The rules that a society adopts for appropriate and inappropriate behaviors constitute the values that establish the customs for that culture. The general image of culture is a local fictive picture, a little picture in a big (global) picture. Its content is the representation of the culture’s subjective vision. The rules or scripts people are expected to observe and follow vary from culture to culture, and evolve and vary not only across time, but also between ethnic and religious groups, and social classes. What is deemed to be accepted dress, speech, philosophy, or aesthetics in one group may be unacceptable in another. These acts and designs are the grand theater, whereby the main human activity is to play the characters. The society passively accepting the script assumes a living scenario, which becomes its meta-narrative. Social norms as statements of prescribed behavior also act as informal social controls. Although they are usually based in some degree of consensus, social norms may also be maintained through social sanctions. Page 21.

“We tend to understand history in a conventional sense, as simply the occurrence of events. This understanding is implicit in our use of words like ›primitive‹ or ›advanced,‹ ›traditional‹ or ›modern,‹ when referring to different types of human societies. Since (art) history is the story found in the artifact record, the historian must piece together the past from fragments of human endeavor. The study of history is an interpretative activity, whereas the individual historian may assert his or her own interpretation. These interpretations may run counter to the interests of the subjects under scrutiny. The responsibility of the historian to make sense of the past may be impinged by the degree to which his or her insight is owed to a critical or cultural pedigree. To decipher the epochal phase of a dissimilar culture requires a quality of objectivity that one’s own culture (philosophy) may not provide. To plot the evolving phase of another culture is rather difficult, because the actual dynamics of which remain partially unknowable. As we evolve towards the unknown our own and current image (representation) cannot be a very clear or fixed one, and our image of the ›Other‹ is necessarily a figment of conjecture. Historical knowledge is the ideas of the historian in association and procession ; the certainties of the judgments are probabilities that are subject to contradiction, and refutation. ›There is History because there is philosophy and in order that there may be Philosophy,…‹ (Alexandre Kojève).” Page 24.



Autobiography as Critique

By Howard McCalebb


"In Skatebored We Noize!" will be a performance taking place in the streets of Alytus for its Biennial organised by Psychic Workers (August 18-th-23rd, 2015) and this is a call to all local skaters to come get in touch here This email address is being protected from spambots. You need JavaScript enabled to view it. to help us bringing skateboard in those part of town where this is forbidden. Skills on the wheels are welcome but not necessary! Everybody is invited to join, but C'monLietuvosskaters ateitiparodytimums savo ollies ir rails!

For decades now Situationism has been subsumed by the historification assembly line, emptied of any subversive potential. It is a corpse, an object of interest of Academy's forensic scientists in search of pret-a-portér radicalisms. However, some of its "practical-theoretical" organs have been transplanted. For example, the alternative use of urban space performed in such an explicit way by psychogeographical dérives stands as a founding element of skateboarding. Every skater lives with this transplanted "organ" and the more succesfull the transplant is the less there is awareness of the operation from the "patient" (on the contrary, the academism side effect risks referred to in this incipit would be enormous!). So let's see what Asger Jorn wanderings through the labyrinthine Amsterdam centre in 1959, with absolutely no aim or destination, taking notes and communicating via walkie-talkie on the perceptions produced by external architecture and his psychological interaction have in common with the slides of a skater? Obviously, the will of using urban space for different purposes from the ones these were originally built: The hive of Amsterdam's centre alleys are primarily a consequence of economic reasons, to let citizens go to work in the most confortable way or to provide them with time-off oriented to commodities; the same is true with the bannister (on which the skateboarding slide takes place) that is made to facilitate transit through steps that lead presumaly to jobs or consumerist places. Both situationist dérives and the skater subvert this unitarian urbanism, proposing and fullfilling alternative usages. Psychogeographical roamings debunk the ideology of contemporary architecture through a theoretical awareness (with practical implications). Skateboarding does the same on a practical level (but with theoretical implications this time) through the virtuosity of tricks. This engagé skateboard is what concerns us in this context. So in order to differentiate it from the conventional one (all chicks, California, billionaire contracts), we're going to refer to engagé skateboarding as "skatebored". Skatebored stands as a technique of metropolitan resistance, the expropriation of an entire city through wheels, the most brave physical realization of situationist dérive aesthetics.