ALYTUS PSYCHIC STRIKE BIENNIAL #6
AUGUST 18-23 /// 2015 /// RUGPJŪČIO 18-23

ATTACK WHITE SUPREMACIST CULTURE!
NETWORK GLOBALLY, KNOTWORK LOCALLY!
DEVELOP SOLIDARITY TOWARDS REVOLUTIONARY ANIMISM!
ALL (IN)ORGANIC COMRADES UNITE!


وحدةDAMTP – DATA MINERS & TRAVAILEURS PSYCHIQUE WAHDAT وحدة



The impact of dominant ideology is inescapable. It establishes individuals as persons by shaping their sense of identity, therefore it relates to how a human being becomes a subject. It is impossible to exist beyond ideology, because this system does not accept the outsiders. It works by neatly eliminating traces of its presence and makes people believe that they are not influenced by ideology.

Language, the fundamental instrument of human communication, is a part of dominant ideology. It plays an important role in creating the gender system which functions as an ideology. The purpose of gender system is not only to establish individuals as persons (subjects), but to turn them into men and women.

Workshop “Language and Gender” invites you to analyse how ideology shapes our language and how language recreates the ideology.

Roberta Raudonė & Agnė Patackė


[The workshop will happen during the biennial seminars since August 18th through 21st.]

Dufrêne is ULTRA LETTRIST (It is he who created the term) because he has abandoned Lettrism writing for automatic CRI-RYTHME. Automatism is no more the application to writing of concepts (preserved in Surrealist images) but the articulate language – and inarticulate – of the intrinsic material of the human voice. It brings the exclusively sonic poetry a new and personal solution.



Villeglé has not come to Ultra Lettrism for the shift of Lettrism he has good friendships with certain personalities in the movement. His searches  are PARALLEL. It is for the ‘cause’ of Ultra Letters overcome the harmony with Haines (introduce the word in -ism) which is joined Grâmmes.



The Ultra Lettrists are the signs in other signification to the pure form, so non-readable, except in the sense of graphically set - obtaining cybernetic  for through glasses of taps – The energy of this mechanism, the dada pace and in the metagraphic act (Ultra-Lettrist)  since its beyond alphabetic writing. It is here a superior synthesis parts the two sources of opposed inspiration.



Estivals is Ultralettrist on the plastic level. His search for the exact writing was conducted in 1949 with the discovery of a new system of writing: complememnt of word; Notiography.  In this sense it is beyond letters (Alphabet). This new procedure is entirely different to Isouien Metagraphy and Hypergraphy on which it is meanwhile collaborating. It is different also as much in form as in spirit in disregarding the graphical aesthetic of Isou as it adds the Exact Science of Writing.



The aesthetical groups their collective burst and their individual ruptures. It is their life. After the time of union of the Free Shooters*



Retrospecively on the discovery of their essential direction which on their watch with each eye for a new battle, to swiften the spirit and renew the avant-garde.



The crisis of Lettrism has been opened for a few years.  The partial splintering has already produced: on the level of general activity; in 1952, The Lettrist International (absorbed today into the Situationist International), in 1953 the Externist Movement (since disappeared): in 1954, the journal “En Marge”. On the aesthetic level, in March 1953, Dufrene, after a position taken in No 5 Revolt of Youth (“half turn left for an automatic writing”) has realised a recital of Ultra-Lettrist  cri-rhythme at the gallery: “L’Escalier”, in October 1955.



The last collective manifestation of the Lettrist group was produced in 1956. After the Hypergraphic exhibition at the gallery “Prismes” it was the manifestations at the Night of Poetry and the Festival of Avant-Garde Art at Marseille. The end of the year achieved the split. Lemaitre ceased issuing the magazine “The Youth Front”. Isou agreed to this commercial operation.



All appears to pass today as ten coexisting tendencies. One with Isou and a few followers, in whom the loss of speed is increasing. Anxious material replaced the whims of creativity, armament at insignificance and erasure. Perhaps the foundational cause for the rot is the exhaustion of the initial impulsions not renewed and exploited, for creating change, on the commercial plan and public notoriety.



The other tendencies are with the Free Shooters whether it be the separate creators, free or more or less Lettrism and “persuing” their solo search  as it in the case of Dufrêne and Estivals, whether parallel creators who know Lettrism but are not always part of it, as is the case with Villeglé  …



It is remarkable that their works are totally different in aspects, on the points they enter the same as Lettrism (in the broad sence) in the presentation of new forms, especially because it is more elaborated. It is for this reason that they are considered ULTRA LETTRISTS



translators note Note:

* I have translated this term but the original has a special meaning in french which goes with the military analogies made byt he writers: (from wikipedia: Francs-tireurs (pronounced: [fʁɑ̃.ti.ʁœʁ], French for "free shooters") was a term for irregular military applied to formations deployed by France during the early stages of the Franco-Prussian War (1870–71). The term was revived and used by partisans to name two major French Resistance movements set up to fight against the Germans during World War II.  )





In the upcoming months South Africa had plans to expel about one million white people from the country, by challenging their lawfulness presence in Africa.

One million is a lot, and the human suffering would be unbearable.

The main reasons are that white people refuse to integrate in Africa. They don’t give African names to their kids. They have not adopted local value system like Ubuntu. They don’t integrate by learning an African language and the predatory nature of their business is against African fundamental values.
further development of any forms of
counter-eurocentrism/counter-antropocentrism/anti-racism
counter-culture/decolonization/reproletarianism

to abolish eurocentric „we are all the same, but we think individually“ and replace it with animist „we are all different but we think/sense the same“.

to abolish eurocentric „I think therefore i am“ and replace it with animist „I relate therefore i am“.

and also developing of [animist trimension] situography (space/Desa), situology (class/Patra) and situophony (time/Kala) instead – that is how i see the proletarian self-organization of psychic workers in this particular moment.


Одна из самых радикальных акций Юрия Урсо (Всеволод Авраменко) - "поджог" The New School в Нью-Йорке. К сожалению, нет видеодокументации самой акции, но мы постарались выяснить, как это было.

В начале идет долгая предыстория, но наберитесь терпения и досмотрите до конца. Ниже опубликованы оригинальные документы, как доказательство того, что действительно Юрий Урсо устроил соботаж в университете и в конце концов был из него исключен; а также изъятый пропуск, с пометками охраны университета.



The list of the happiest countries and the unhappiest countries in Africa is out.
All Top 10 Unhappiest countries in Africa are in “Francophone” Africa.
Not a single Francophone country is in the top 10 Happiest.

Speaking French Hurts Happiness.

Maybe that’s the reason why 8 out 10 of the countries with the lowest adult literacy rate in the world are in francophone Africa.

www.siliconafrica.com

Artists - reject the bourgeois category of Art! organize as psychic workers!

Activists! Reject the bourgeois category of politics! Organize as psychic workers now!

Social networkers! Reject bourgeois notions of "friend"ship and begin to organise as psychic workers!

The Left and the Right are but aspects of Capital. As is Anarchism. Organising as psychic workers is both impossible as it is inevitable. As is Communism.

Organising as psychic workers means communising with other workers of your Patra (Class) and as such across all Desa and Kala (Space and Time)

Psychic workers union is both kathiral (multitude) and wahdat (unity) just as the General Workers Obshina (Soviet) is both kathiral and wahdat.

Psychic workers are Non-productive workers but that doesn't mean that we are not also Productive workers. We are both but also we are Destructive workers and we are Reproductive workers!

Nonproductive, Destructive, Productive and Reproductive work all involve some form of psychic production. But it is only through Wahdat and Kathiral (Unionization of Multitude) that the individual psychic worker can address all of these situations at once.

As Psychic Workers we must overcome the Destructive Workers. And be overcome by the Productive Workers. Who in turn must be overcome by the Wahdat of Reproductive Workers.

Tae Ateh is a transsexual transnational transhuman collective phantom!

If Tae Ateh did not exist we would have to invent her!

Become Tae Ateh before she becomes you!

Trade unions and industrial unions both organize workers according to the structures of Capital. The Situnion is self organisation according to the needs of Labour

Political parties or groups seek to take State Power. But the Situnion seeks to make both obsolete

Commercial International Companies are more powerful than State Governments. But the Situnion will be more powerful still.

1923 1945 1968 ... 1999.... 2012 .... Every great recession brings a confrontation with power. Every defeat brings new territory opened up and new gains made leaving Capital weaker than the last and one bit more likely that the next confrontation will be the last

Soviet, Strike, Occupation, Situnion... Historical and future forms of resistance meet as political power is exhausted in the present moment.

Thers is a Spectre haunting Europe. Africa. Asia. America. Australia. The Spectre of Proletarian Internationalism / International Proletarianism. The Spectre of Situnionism. The Spectre of DesaKalaPatraGraphy.


According to the British Philosopher, Bertrand Russell, Western states main purpose is to "Kill foreigners".

He said: "The State is primarily an organization for killing foreigners. That's its main purpose. There are, of course, other things they do. They do a certain amount of educating; they try very hard to make the young think it's a grand thing to kill foreigners."

This is not surprising to me as today, over 70% of the world military budget is spent by two tiny regions of the globe: the EU and the US.

I'm not American nor European, which means these nations are organized to kill me at any time if that's in their interest! And anyone who is not American or Europeans is target of theses nations.

Is possible to do anything about that wrong way of thinking, and organizing States?

www.siliconafrica.com

Šią daugiaplanę, komplikuotą ir prieštaringą temą kartu su Dariumi Pocevičiumi ir Kasparu Pociumi bandėme plėtoti dar 2008 m. kontrkultūrinėse publikacijose savaitraštyje Šiaurės Atėnai, kol nebuvome tuometinės redaktorės iš ten mandagiai „išprašyti“. Iš esmės nuo kapitalistinės Lietuvos at(si)kūrimo laikų nebuvo keliamas viešumon [buržuazinio] meno paskirties visuomenėje klausimas – tiesiog nurašytas kartu su sovietinėmis šmėklomis ir tiek. Reikia pripažinti kad paskutinius kelis metus ši tema [dažniausiai propagandine forma] vis išnyra viešumoje, bet ji dažniausiai keliama pačių kultūrininkų ir demonstratyviai vengiama kvestionuoti meno prigimties „nekaltybę“. Nusprendžiau pamėginti išprovokuoti viešą diskusiją šiuo nelabai patogiu klausimu, juolab, kad tam labai natūraliai paskatino du iš pirmo žvilgsnio tarsi ir visiškai nesusiję straipsniai: Vlado Kančausko „Debesėlis kelnėse“ (Kultūros barai Nr.3, 2015) ir Skaidros Trilupaitytės „Apie vieną Vilniaus piktžaizdę. Viešoji kultūrinė erdvė ir laikinumo dešimtmetis“ (7 Meno dienos, Nr. 12 (1118), 2015-03-27). Jeigu pirmasis tekstas tiesiogiai liečia mano asmenį – jo autorius, pamiršęs dėl ko diskutuojama, ad hominem argumentais bando plautis mundurą, tai antrajame tekste, kuris be abejo yra nepalyginamai nuoseklesnis ir intelektualiai pagrįstas, autorė atskleidžia neseną istoriją, kaip menininkų ir intelektualų inicijuota kova už „viešąjį interesą“ ir pilietines teises „Lietuvos“ kinoteatro privatizavimo istorijoje galų gale sulaukė jos manymu pozityvios atomazgos materializuotis Modernaus meno centru. Atskirai paėmus nė vienas iš šių tekstų gal ir nenusipelno ypatingo dėmesio, bet juose išryškėja bendri simptomai – meno ir „rimtosios“ akademinės kultūros absoliutizavimas; [nuo kapitalo atriboto] viešojo intereso ir simbolinio kapitalo tapatinimas bei šių reiškinių iškreipta pasaulio vizija menininkų ir intelektualų gavose. Abiem atvejais mano minėti autoriai savo apibendrinimais išeina už meno pasaulio burbulo ribų ir jų primetami estetiniai bendrabūvio argumentai yra diskutuotini.

Akivaizdu, kad senesniosios kartos menininkams, subrandinusiems savo prisitaikėlišką „tylųjį“ modernizmą sovietmečio gūdumoje, Clive‘o Bello formalistinė meno teorija yra visiškai pakankama priedanga izoliuotis nuo viso likusio pasaulio savo iliuzijose. Galbūt būtent dėl šios priežasties viename iš minėtų straipsnių būtent šis autorius yra įvardinamas ne tik kaip didelę įtaką padaręs ir tebedarąs rašančiojo pasaulėžiūrai, bet ir kaip imperatyvas. Viskas gal būtų ir gerai, jeigu tie žmonės [modernistai] būtų patys sau laimingi ir tuo užkrėstų aplinkinius, bet deja – iš savo patirties turėčiau pripažinti, kad pastarojo dešimtmečio pikčiausi žmonės Lietuvos viešojoje erdvėje buvo menininkai, intelektualai ir naciai. Ką gi teigia tas Bellas? Jo įvestos niekuo neargumentuotos sąvokos: „reikšminga forma“ (significant form), „meninis jautrumas“ (artistic sensibility), „estetinė emocija“ (aesthetic emotion), „gili estetinė patirtis“(deep aesthetic experience), „subtilus jautrumas“ (delicate sensibility) ar „aiškus mąstymas“ (clear thinking) po visos XX a. patirties tegali būti vertinami tik kaip anachronizmai, nes jų tikslas buvo labai paprastas – įtvirtinti britų modernistinį imperinį-kolonialistinį autoritarizmą, leidžiantį priimti sprendimus be argumentų – t. y. estetinius sprendimus. Kultūros ir meno srityse tai pasireiškė didžiųjų Europos kolonialistinių valstybių sugebėjimu adaptuoti Azijos bei Afrikos šalių bendruomenines praktikas į vartojimo prekes (meną), kuris vėliau (jau postmodernistinėje kolonializmo stadijoje) buvo parduodamas kaip europinis produktas toms pačioms šalims iš kurių buvo aproprijuotas. Bet prieš išmesdami Bellą į istorijos šiukšlyną turėtume įvertinti jo rasistines nuostatas, kurios yra integrali viso modernistinio projekto dalis. Iš kraštutinai eurocentristinių pozicijų jis kritikavo viską, kas buvo sukurta už Europos ribų, o ypatingai afrikietrišką (skulptūrą) ir afrikiečių imigrantų (džiazinę) kultūrą: „...nesu matęs nė vieno nigerio sukurto objekto, kuris nebūtų vulgarus, žinoma, išskyrus tuos, kuriuos jie padarė europiečių prižiūrimi. Jie pasižymi nuostabia technika, bet yra abejotinos vertės. Abejotini, nes nėra sąmoningi: prie jų [objektų] neprisilietė protinga menininko sąmonė, jie atsirado iš instinktyvaus primityvių žmonių skonio... šis meninio sąmoningumo trūkumas atsirado dėl vidinio negrų defekto, kuris daro juos nepilnaverčiais. Laukiniai neturi sąmonės ir kritinio mąstymo, nes jiems trūksta proto ir jie nesuvokia gilesnių koncepcijų. Grožis, skonis, kokybė, gebėjimai – viskas yra, bet vizijos gilumo trūksta. Kadangi jie nesugeba suvokti gilesnių minčių, jie nesukuria ir organiškos visumos. Didžiųjų menininkų savybė yra sukurti visumą, o ne tik sujungti atskiras dalis į vieną gabalą. Laukiniai to nesugeba.“[1]Kur kas daugiau atviro rasizmo sutiktume Bello atsiliepimuose apie džiazą[2], bet dėl laiko stokos jų necituosiu.

Libya was the most advanced African country until 3 years ago when a coalition of christian countries military forces organized in NATO bombarded the country back to stone age under the false claim of bringing them democracy, like the same Christian countries destroyed the whole Africa continent centuries ago under the pretense of bringing them civilization.

The majority of African people are positively working for progress in Africa.
Our progress is hindered by the western countries addiction to looting and promotion of bad leadership in Africa.

Our friends in the west who want to help Africa should lecture their own countries’ leaders on their actions in Africa.

We don’t need any other lecture or help. We africans we know quite well what we need to do, and we are working hard on that.

www.siliconafrica.com



When Mandela arrived in 1939 in Johannesburg,  fleeing from an arranged marriage, he was a smart countryside boy who unfortunately quickly developed an inferiority complex against the urban black elite and the white high social privileges and economical status.

This is something quite normal, often observed on newcomers to urban area, or a more advanced society.

In 1940, he did not have any political ambition or wish to fight apartheid. He confessed his admiration for white people, and his dream was to qualify as a good clerk in the apartheid system.

He was undoubtedly a very ambitious young boy, but utterly obsessed with his image, and status. Regardless of his meager resources, he’d invest most his income in overdressing and flashing out to attract females favor. A kind of Congolese “Sapeur” of the day!

He was attracted to activism only when he finally found out that injustice and racial discrimination represented the main roadblock for his buoyant ambition.

Walter Sisulu and Oliver Thambo took the countryside boy under their patronage, and provided him with opportunities.

He performed well.

Acknowledging their fight against Apartheid was not making any great progress, Walter Sisulu and Oliver Thambo took one of the smartest decision the ANC had ever made: create an young icon which would catalyse emotions. The charming Mandela was the best candidate.
[scroll down for English]


Visa, kas nėra tradicija, yra plagiatas“ – Vytautas Landzbergis

Kaip skelbia pasaulio psichodarbininkų proletarinis kalendorius, balandžio 23 d. yra tarptautinė plagijavimo diena, skirta Williamo Shakespeare‘o mirties metinėms. Reikia pabrėžti, kad XVII a. originalumas nebuvo laikomas privalumu, ir todėl Williamas Shakespeare‘as yra puikus ikimodernistinio požiūrio pavyzdys. Šiandien kiek drastiškai skamba, kad nieko originalaus jis nesukūrė: siužetus ir veikėjų charakterius jis susirinko iš kur panorėjęs ir net nenurodė šaltinių, bet atvirai siūlė bet kokį tolimesnį jo tekstų panaudojimą, jeigu kam to reikia. Svarbu pabrėžti, kad individualaus „genijaus“ ir „mistiškų“ sugebėjimų „kurti“ mitas užgimė kartu su XX a. modernistais.

Balandžio 23 d. taip pat ir Akatlo (nendrės) diena – ją valdo ir šešėlio sielos gyvybine energija ją aprūpina Tezkatlipoka. Akatlas – tai valdžios skeptras, kuris yra paradoksaliai kiauras. Šią dieną likimo strėlės krenta iš dangaus kaip žaibai, kad sukurtų chaosą iš tvarkos. Tvarka ir protas atgyveno ir turi būti pakeisti naujomis, netikėtomis, nenuspėjamomis galimybėmis. Šis žaibas būtent ir trenkia į pačią tvarkos širdį. Karys apsisprendžia atsisakyti bendravimo, jeigu vienintele galimybe telieka blogas bendravimas: įsigali vagystės ir niekas nuo jų neapsaugotas. Tai gera diena būti visų reiškinių priešakyje, ir bloga diena slėptis pakampiuose (t. y. likti namuose ir daryti meną). Mums belieka laisvai plagijuoti viską, kas papuola po ranka ar mums priklauso – įskaitant ir mus pačius. Mes privalome sugriauti trukdančias pilnaverčiam bendravimui kliūtis ir iš naujo kolektyviai su(si)kurti savo įvaizdžius, simbolius, bendravimo priemones. Idėjos nebepriklauso jokiam individui ar jų grupei. Laivai leisk sau plagijuoti kitus darbus, transformuodamas juos taip, kad šie atitiktų tavo paties nuostatas. Paimk populiarius vaizdus, suteik jiems tau priimtiną prasmę ir paskleisk visuomenei. Panašiai leisk ir kitiems transformuoti tavo paties idėjas. Svarbiausia yra ne individualizmas ar unikalumas, bet kolektyvinis saviorganizacijos ir autonomijos nuotykis.

Arėjo laikas atsikratyti atgyvenusio ir eurocentristinio „mąstau, vadinasi egzistuoju“ ir priimti animistinį- plagiatorišką „jaučiu ryšį, vadinasi egzistuoju“.
I went to the occupation last weekend. It was good to see such a mix of people, black, white, women and men. The atmosphere was good and people were quite friendly. However it was mostly students or ex-students there and it was mostly a middle class group of people. the events like Easter Egg Hunt and Poetry Jam reflect how it seems the NUS Ents officer is the most active part of the students there. I don't want to dismiss this however as doing what you love should be the basis of any revolution. However, reproducing our own alienation through bourgeois notions of leisure time or holiday, is not this by any means.

The absense of other workers - even the voice or representation - of the most exploited workers eg cleaners and other staff is a big problem and is reflected in the limitations of the demands of the occupation. The demands of the occupation are of course the main point of organisation and negotiation with the authorities. and also with discussions with other workers and people such as myself coming in from outside.

The main demand and point of negotiation is the foundation course not to be scrapped. this is the point of contention that has begun this occupation. we should first note that the scrapping of the foundation course is just one of the millions of ways in which the neoliberal so-called Global Educational Reform Movement. GERM is transforming education into a massive industry not just in universities but also from primary education upwards, not just in London but the whole world. fighting this one thing is not enough - GERM needs challenging in its totality in conjunction with other unions and workers internationally. To this end the occupation is making some links with other occupations and students movements, Montreal, in Italy... these links should be formalised. the demand to keep foundation therefore is just a starting point and may even be ditched as stronger positions are formulated.
 
DAta Miners & Travailleurs Psychique continue on publishing DAMTP newspaper launched at 1PC (1 st year of Proletarian Callender corresponds year 2010)

DAMTP newspaper issue 9 [2015///amalaka ekadashi pneumo Spring Equinox 7PC edition] publication continues on DesaKalaPatraGraphic explorations of identity, intoduces Bicycle Network Building Workshops (BNBW) and criticises eurocentrism in cycling and explores international teacher's solidarity:
http://antisystemic.org/SW/DAMTP9.pdf

DAMTP newspaper issue 10 [2015///Δ∞xa yancuic xīhuitl ana Tae Ateh 7PC edition] publication explores critical Tae Ateh animism, further denounces GAP corporation's involvement into Rana Plaza garment workers deaths and attacks racism in eurocentric art and serious culture of global bourgeoisie:
http://antisystemic.org/SW/DAMTP10.pdf

The publications are situgraphic - no top nor bottom settled, neither left nor right sides fixed. Every page could be considered to be the first. The 8-pages newspaper combines texts and images in hypergraphic and situgraphic format.

all DAMTP publications could be downloaded from http://www.alytusbiennial.com/publications.html

for hard copies contact us:  This email address is being protected from spambots. You need JavaScript enabled to view it.


1915
metais
Jaroslavas Hašekas
buvo nuteistas 3 metams kaip
dezertyras už reumato simuliavimą.
Kaizerinė Austrijos-Vengrijos valdžia
geraširdiškai leido atsėdėti tuos tris metus
kalėji me jau po karo, jei tik jis išliks gyvas. Atgabentas
į frontą Vakarų Ukrainoje, J. Hašekas savanoriškai
pasidavė į nelaisvę.
Kaip talentingą rašytoją carinės Rusijos valdžia jį įdarbino
"Čekoslovanos" laikraščio redakcijoje.
1916-1918 metais J. Hašekas rašė "Šauniojo kareivio
Šveiko nuotykius" gyvendamas Kijeve, Vladimiro g. 36.
Šiandien ant šio namo prikabinta memorialinė lenta.
Likimo ironija, tačiau priešais šį namą, Vladimiro g.
35, yra įsikūrusi Ukrainos saugumo tarnyba
(Служба безпеки України), kuri šiandien gaudo
dezertyrus ir kiša į kalėjimus tėvynės išdavikus,
pasisakančius prieš mobilizaciją į karą.


In 2014 W.A.G.E. (Working Artists and the Greater Economy) launched a campaign of certification which ‘publicly recognizes non-profit arts organizations [...] paying artist fees that meet a minimum payment standard’. Josefine Wikström assesses the campaign’s aims within art’s complex relation to the capitalist division of labour


Art must, in its contemporary form, be understood in two ways. It should firstly, and on the one hand, be seen as a sphere dialectically separated from life in general. This understanding of art famously emerged as a result of two parallels movement in the late 19th century: the development of capitalism on the one hand and aestheticism on the other. Through this process art came to appear in a separate – from the church and from the state – aesthetic sphere and from a standpoint of negation with regards to capitalist production. Theodor Adorno expressed this complex relation of art to capitalist production in the late 1960s: ‘The separation of the aesthetic sphere from the empirical constitutes art. […] There is no art that does not contain in itself as an element, negated, what it repulses.’1

But contemporary art must also be understood as a vast global industry, like any other within advanced capitalism, built on corporate and financialised structures of wage-labour. From this perspective it is as if art’s status as separated from life – its exceptionality perhaps – is what has made it a desirable area in which to invest. It is as if its exceptional as well as speculative status enables it, better than any other commodity, to obscure its conditions of production.

This double sidedness of contemporary art – its separateness as ‘art’ and the use of this exceptionality within an ever-increasing exploitative and speculative global industry – makes the reproductive conditions of the art industry even more mystified than in other industries. One would need an empirical Keynesian, like Thomas Piketty, to spell it all out and expose its core truth in diagrams and clear-cut statistics. In other sectors, such as IT or the garment industry for example, exploitation is taken for granted as a condition of production. Such is the contrast with regard to the working conditions within art, often covered up precisely by that: ‘art’.
بِسۡمِ ٱللهِ ٱلرَّحۡمَـٰنِ ٱلرَّحِيمِ (١)

BE SMALLER IRE MAN IRE HIM

ٱلۡحَمۡدُ لِلَّهِ رَبِّ ٱلۡعَـٰلَمِينَ (٢)

ALL HARM DO LITTLER HERE ROB ALL I MEAN

ٱلرَّحۡمَـٰنِ ٱلرَّحِيمِ (٣)

IRE MAN IRE HIM

مَـٰلِكِ يَوۡمِ ٱلدِّينِ (٤)

MY LICK EAR OH MID IN

إِيَّاكَ نَعۡبُدُ وَإِيَّاكَ نَسۡتَعِينُ (٥)

EAR CAN NOT BOO DO WAR EAR CAN NOT STAY IN

ٱهۡدِنَا ٱلصِّرَٲطَ ٱلۡمُسۡتَقِيمَ (٦)

EAR DIN NOT SIR I TIL
MUST I KEEN

صِرَٲطَ ٱلَّذِينَ أَنۡعَمۡتَ عَلَيۡهِمۡ غَيۡرِ ٱلۡمَغۡضُوبِ عَلَيۡهِمۡ وَلَا ٱلضَّآلِّينَ (٧)

SIR I TILL THE SCENE AT AND AM TOO THEY'RE ILL MY DO BE ALLAY HIM WAR LORD ALL IN











Shops closing down in Westfields during Eric Garner protest, retail staff were intimidated by protestors protesting for: peace, justice and inequality.



*a few point here:*



*staff were intimidated by protesters?*



*later on u say that the police were intimidating protesters*



*so who was doing the intimidating? or was there any intimidating at all?*



*i would say that the OCCUPIERS (not protesters) were calling on staff and shoppers to join them in solidarity. This disrupted the usual workings of the consumer society.*



*occupation is a workers tactic - lock-in. along with striking, sabotage, go-slow, work to book and many other weapons of industrial dispute, it is the tools of workers fight.*



*protest is a part of neoliberal democratic discourse. Along with rights, equality, freedom (liberty, egalite, fraterntiy were the slogns of the french bourgois revolution). We should reject all this and call for POWER*



*Thats why black power, workers power are revolutionary demands.*