[[SURVIVAL_DISASTER_FILM]] [[SHOTS / SCENES]] A COMPUTERASSISTED VISION IN WHICH THE EYEBALL GRADUALLY BECOMES THE OBJECT OF MILITARY-INDUSTRIAL DEVELOPMENT, JUST AS THE DISCOVERY AND CONQUEST OF THE TERRESTRIAL GLOBE WERE ONCE THE OBJECT OF THE GREAT MILITARY CONQUERORS.  [[THE SCOPHILIA OF A BAD CAR WRECK]] *The decadence of a world -to be enjoyed hastily before it is too late —The appeal of motorcycles - speed, power, danger - has been almost exclusively to working class youth. The middle-class kid typically has a small sports car; the working-class cowboy has a bike -cheaper to buy, cheaper to run, easier to tune, more exciting and less impersonal to use. The cowboys, like most people, are unsympathetic to those who do not share their preoccupations; they are not particularly sympathetic even to each other. Most of them have friends who_ _‘fucked-up’_ _on a run; they are philosophical about death; accidents are one way out of the fuck-up routine of dead end jobs in a dead end society. Most cowboys work simply to keep riding._ _(IN GIRUM IMUS NOCTE ET CONSUMMUR IGNI -THE [[Situationist International]] (1957-1972))_ **_Only an affirmation has the potential for accomplishing the work of destruction. The [[destituent gesture]] is thus desertion and attack, creation and wrecking, and all at once, in the same gesture. It defies the accepted logics of alternativism and activism at the same time. It forms a linkage between the extended_** Breaking is understandable, among other things, **as an open debate in public on the question of property.** The bad-faith reproach “they always break what is not theirs” needs to be turned back around. How can you break something unless, at the moment of breaking it, the thing is in your hands, is in a sense yours? Recall the Civil Code: “As regards furniture, possession can be taken as ownership.” In effect, someone who breaks doesn’t engage in an act of negation, but in a paradoxical, counterintuitive affirmation. T**hey affirm, against all appearances:** **“This is ours!”** **Breaking, therefore, is affirmation, is appropriation.** _It discloses the problematic character of the property regime that now governs all things._ In the riot there is a production and affirmation of friendships, a focused configuration of the world, clear possibilities of action, means close at hand. The situation has a form and one can move within it. It is a momentary suspension of the confusion. ==*In the tear gas, things are curiously clear and the real is finally legible. The enemy is rendered visible.*== * One has to know what to commit to and then commit to it. Even if it means making enemies. Or making friends. Once we know what we want, we’re no longer alone, the world repopulates. Everywhere there are allies, closenesses, and an infinite gradation of possible friendships. Nothing is close for someone who floats. Choice is the act of hesitation that we make before making a decision; it is a mental wobbling and so we are always in a dither of doubt as to whether we are behaving the right way, doing the right thing and so on and so forth. We lack a certain kind of self-confidence and if you see you lack self-confidence, you will make mistakes through sheer fumbling. If you do have self-confidence, you may get away with doing entirely the wrong thing; You have to regard yourself as a cloud in the flesh because you see; clouds never make mistakes. did you ever see a cloud that was misshapen? do you ever see a badly designed wave? they always do the right thing but if you will treat yourself for a while as a cloud or wave and realize that you can't make a mistake whatever you do ; because even if you do something that seems to be totally disastrous it'll all come out in the wash you are like cloud and water and through that realization without overcompensating in the other direction you will come to the point where you begin to be on good terms with your own being // every path is the right path /// Then there is hope, that very slight but constant *impetus* toward tomorrow that is communicated to us day by day, is the best agent of the maintenance of order. It’s an avoidance of now. We’re daily informed of problems we can do nothing about, but to which there will surely be solutions tomorrow. But there isn’t, there’s never been, and there never will be anything but now. If we are so much inclined to flee from now, it’s because now is the time of decision. It’s the locus of the “I accept” or the “I refuse,” of “I’ll pass on that” or “I’ll go with that.” It is the moment, endlessly renewed, of the taking of sides. Thinking in distant terms is always more comfortable. “In the end,” things will change; “in the end,” beings will be transfigured. Meanwhile, let’s go on this way, let’s remain what we are. A mind that thinks in terms of the future is incapable of acting in the present. Die while alive, and be completely dead, then do whatever you will, all is good.  ## **(A WORLD WHERE SPEED IS AT THE LIMIT)** Enclosure - Foreclosure  We have reached the limit in the sense that the earth is too small and the world is foreclosed. We have moved from agoraphobia to claustrophobia.  Hence the notion of a final frontier in a society of mass individualism where my body becomes the last rampant  [[Virilio]] talks of an architecture as an escape vehicle that sticks to the body like a space suit or the clothing that you carry with you   The Space-walker becomes the image of man-as-planet It also recalls the image of a liferaft **Vision of planetman, in which the eyeball of the weightless witness observes the old terrestrial globe with a kind of sovereign scorn; vision of a lost world linked to the Weltschmerz of the nihilism of Western technology.** _In a world characterized by mass individualism, my body becomes the final rampart._ _Living together and everyman for himself._ _I wouldn’t want to be a survivor_ _The last frontier_ --- a collective reflection on limits: "where is being-in-the-world in the era where speed is at the limit?" A philosophical intelligence of the state of the world needs to be developed to regain control over the major social choices that we have to make; from this point of view, it is necessary to rediscover the original force of philosophical discipline in the polis. "Where is being-in-the-world in the era where speed is at the limit? " This is the question we should be asking and the question we must answer. Only from that point can we begin to imagine taking paths that might offer something new in social and economic terms. >"just-in-time, zero stock" consider the logics of distribution that we can see today: there are fewer and fewer warehouses, almost no stock, only the flow of goods. you can see how acceleration, the pure speed of circulation, has overcome accumulation. I argue that only an appreciation of current [[precarity]] as an earthwide condition allows us to notice this—the situation of our world. We might look around to notice this strange new world, and we might stretch our imaginations to grasp its contours. This is where mushrooms help Don't back away from what is political in friendship From the outset, the time of the commune eludes work. It doesn't function according to that scheme- it prefers others. It seeks to break all economic dependency and all political subjugation; A commune forms every time a few people, freed of their individual straitjackets, decide to rely only on themselves and measure their strength against reality.  ::Get organized in order to no longer have to work:: all affinity is affinity within a common truth. attach yourself to what you feel to be true and begin there. ::The commune is perhaps what gets decided at the very moment when we would normally part ways. It's the joy of an encounter that survives its expected end. It's what makes us say "we," and makes that an event. What's strange isn't that people who are attuned to each other form communes, but that they remain separated. :: **An encounter, a discovery, a vast wave of strikes, an earthquake: every event produces truth by changing our ways of being in the world.** A truth isn't something we hold but something that carries us. it makes and unmakes me, constitutes and undoes me as an individual; it distances me from many and brings me closer to those who also experience it. An isolated being who holds fast to a truth will inevitably meet others like her. In fact, every insurrectional process starts from a truth we refuse to give up. _From our old friends, The Invisible Committee  _ -- ::“The delicate surface of woman, its textures, figures, forms, acts- the re-presentation of her corporeality juxtaposed against the harsh environmental features of a world living in a dark age :: Its military-industrial-monetary-complex”:: We are a lost generation, desperately clinging to anything that feels real, but too afraid to become it ourselves. We are a defeated generation, resigned to the hypocrisy of those before us, who once sang songs of rebellion and now sell them back to us. We are the last generation, a culmination of all previous things, destroyed by the vapidity that surrounds us. “In our time, the Young-Girl is the commodity most in demand: the human commodity .” "clean adult bodies torquing up to full power, crisp as freshly minted coins, looking for a way in, an object to act on.” She is a waitress, model, publicist, or promoter. Today, the Young-Girl sells her “power of seduction” the way her “labor power” used to be sold. # WELCOME TO THE ANARCHY JUNCTION OF NYC  only by traversing fantasy all the way through to the end, the world’s end, we may gain entrance into the real of the world (Lacan) a traumatic point of non-sense, symbolic unrest and boundary breakdown- that is the very condition of rebellion and transformation. [[A UTOPIAN DISASTER]]  [[Destituent exodus]] - consider a withdrawal from the production of the dominant social relations that are inherent in the possession of money! Bring the fiscal paradises back down to earth, attack the citadels of offshore finance, confiscate the deposits of liquid returns, secure everyone’s access to the world of commodities - the only universalism that people love is that of money! ### BUNKER UNDERGROUND SCENE ![[CLANDESTINE LSD LAB]] THIS IS MY MEMOIR. IN THE FORM OF A CONFESSION OF CRIME, AS IF IT WAS A DIARY: ESCAPE VELOCITY ``` Driving on highways of information; No breaks; Reckless > -- Black Noise (feat. Tenesha the Wordsmith) ```  THUNDERING ACROSS THE CONTINENT ON EXPRESS LINES RUNNING ON THE LAST FEW DROPS OF AN ENDING EMPIRE. This is a vision that leads to a speeding German coupe on the mountain roads of a climaxing spring- filled with new horizons and [[nomadic]] [[dérive]] (French: [de.ʁiv], "drift") Wandering governs this abandon Look at our gestures, the rising grace within our gestures; how beautiful it is that nothing catches us. Look at our bodies, how fluidly they mix. How long it’s been since such free gestures descended on the world. ONE PICTURE AT A TIME The fulfilment of a possibility that had been there all along pretty girls and anarchy –post-human neutral sexuality – a post punk aesthetic  >The liberation of desire, Love, satori, German sports cars, endless roads, girls, cameras, psychosis, thrills, rolling pastures, and the unfolding ecstacy. ### Dreams for the unending pavement - mile marker after mile marker to skate on and on, Liberation to Nothing- Spirituality found in everything.  "If there is a paradise, surely it is here!"- Those who, by luck or misfortune, awake from the prescribed sleep, come into this world as lost children. They are the orphans of all known orders. So lucky are the orphans, the chaos of the world belongs to them. Now, only nostalgia separates us from the unknown.  Future vistas into existential contingencies; [[existential nomadism]] **:* new ways of being in a world where speed is at the limit*–** You go, you are lost. The measure of your value is nowhere to be found. You go, and you don’t know who you are. But this ignorance is a blessing. ==And you are without value, like the first man.== Wandering the roads… *If you weren’t so lost, you wouldn’t be so destined for encounters.* ` “Let’s be done with this”  No longer desiring to be someone  No longer desiring to be something  Free to Wander the roads  ` ### **THE AUTOMOBILE - 1995 BMW M3 - AVUS BLUE ** FEEL FREE TO WANDER If walter benjamin spoke of the fusion of capitalism with religion, then this becomes evident in the automobile. It is the artifact in which the spirit of capitalism materializes and the energies of our culture are synthesized the most graphically- from the economic to the religious planes. ![[Disinhibition through speed the nature of risk]] -------------------------------------------------------- ## VISION OF A GIRL BY HER MOTORCYCLE "THIS MOMENT OF REBELLION ALLOWS THEM THEIR FIRST TASTE OF FREEDOM. EVERYTHING CAN BE POSSIBLE. CAN THEY ASSUME IT TO THE END?" SHE IS SITTING BY THE CAMPFIRE RING WITH HER BOOTS ON THE ROCKS, HER MOTORCYCLE BEHIND HER- SUNNY MAY AFTERNOON IN THE COUNTRY; READING A BLUE COPY OF ZEN AND THE ART OF MOTORCYCLE MAINTENANCE [[“AND ONLY A FEW ENCOUNTERS WERE LIKE SIGNALS EMANATING FROM A MORE INTENSE LIFE, A LIFE THAT HAS NOT REALLY BEEN FOUND.”]] ( #script ) THE VANAGON GIRLS APPROACH HER Where are you going to and from? (trailer like dialogue / minimal, they talk just enough to suggest what happens next – jump cuts) WIDE OPEN SHOT OF COWGIRL RIDING THE MOTO WITH DRONE FROM BEHIND FOLLOWING Cut to // SHOT > Drone hovering as the moto passes (front view shot) with the van behind her following as they ride together to the next destination (CRANE FROM PICKUP / ROLLING SHOT ) FRONT VIEW SHOT :: FOLLOWING THE VAN GIRLS DRIVING ZOOMING IN CLOSE UP OF THEM LOOKING AT THE MOTO GIRL WITH A SENSE OF DELIGHT AND EXCITEMENT AS THEY DRIVE TOGETHER ON THE COUNTRY ROADS ------------------------ VAN GIRLS BY THE LAKE FINGER FUCKING IN NATURE AS MOTO GIRL WATCHES FROM AFAR PRAIRIE POND Cowgirl stumbles by the scene of van girls by the lake side as first encounter - she watches the scene unfold from afar and starts to recollect lines from even cowgirls get the blues, she reads on to herself as the lines become real Moans groans grow louder in an echo;(voice over) Finger-fucking is an art: Men Indulge in it; women excel at it.  == ###### seeking perspective on the pressure that the capitalization of creativity has exerted on artistic practice ![[VWMoon.jpg]] ![[VWStars.jpg]]  My life consisted of sleepless nights in a technofile's wet dream of a warhouse cellar in Bushwick/Greenpoint, blasting dark techno into the night- digitizing affect, synthesizing pixels, [[Painting]] with light - Then I spend other days in the sublime silence of nature seeking analog simplicity - slow contemplation, a briefcase full of books, a field typewriter, pen and paper - The dream is to fuse these two theaters of operation into one - to find Stillness in Motion by powering the ultimate technical machine, the computer, a machine of speed in the most remote wilderness - That's where I'm at as a computer artist these days; yearning to bring the richness of experience found in nature to a highly technical environment  Always believed that this is the true potential of the newly designed Mac Pro + coupled w/ an ultra light 16" USB3 powered LCD + a secondary large deep cycle marine battery with a 600 Pure Zine inverter, potentially charged by solar panels + fitted around the rear facing seat of an 88' [[INDEX/Vanagon]] with fold out table - amounts to the height of what late capital can offer : deterritorialized mobility / speed / power /    >We are a lost generation, desperately clinging to anything that feels real, but too afraid to become it ourselves. We are a defeated generation, resigned to the hypocrisy of those before us, who once sang songs of rebellion and now sell them back to us. We are the last generation, a culmination of all previous things, destroyed by the vapidity that surrounds us.  When freedom is practiced in a closed circle, it fades into a dream, becomes a mere [[representation]] of itself [debord] <div> You need is a powerful vision of the future with all its dangers that is also quite thrilling. It would be an escape from the staticness of the world that we have today and to do that you've got to engage with the giant forces of power that now run the world at the moment. The point is that change, political change- is frightening. it's scary. it's thrilling because it is dynamic and it's doing something to change the world. but it is scary because it can change things in ways where nothing is secure. it's like being in an earthquake- the solid ground underneath you begins to move and things dissolve that you thought were once solid. the key thing is in confronting those powers and trying to transform the world you might lose a lot. <div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/525059455?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen style="position:absolute;top:0;left:0;width:100%;height:100%;" title="POLITICAL MAIN - INTRO WITH curtis adam-"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script> This is a sort of forgotten idea in politics -that you actually surrender yourself to a big idea and in the process you might lose something but you'd actually gain in a bigger sense because you've changed the world for the better. You give up some of your individualism to something bigger than yourself. You surrender yourself and it's a lost idea… You can spot real change happening when you see people from the liberal middle classes beginning to give themselves up to something. Surrendering themselves for something bigger than themselves and at the moment there is nothing like that in the liberal imagination. Do you really want it because if you do - many of them might find themselves in a very uncertain world where they might lose all sorts of things. *And the implication is dire.* What we're talking about in many cases is people who are sort of at the center of society at the moment. The middle class- those who are out of the margins, they would have a lot to lose from real political change because it really would change things in the structure of power. So this is the brutal question- *Do you want real change*? Or do you just want things to change a little bit? Do you just want the banks to be a little bit nicer, say? Or people to be a little more respectful of each other's identities? All of which is good but basically you carry on living in a nice world where you tinker with it — those that's the key questions. >```Sacrifice always means the renunciation of a valuable part of oneself, and through it the sacrifice escapes being devoured.``` </div> ## THE DEMOLITION OF BOURGEOUIS CULTURE  <div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/525057301?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen style="position:absolute;top:0;left:0;width:100%;height:100%;" ></iframe></div><script src="https://player.vimeo.com/api/player.js"></script> >“Yes, it’s true, all of them, consciously or not, are part of that old world we must now fight against. –For those who wake up are the nightmare of those who still sleep.” “A sort of Western tantric porn might help galvanize the corpse, make it shine with some of the glamor of crime.”  ###### She types into a Lettera 10 Portable Typewriter, circa 1976-77  ## TINDER SUBJECTS  ![[TINDER SUBJECTS]] ## ![[HYPERCUBE]] ### BIOCAPITAL::SUBJECTHOOD The body is presented both as the product and the instrument of labor, but I think it’s more like being an artist or whatever. We are all prostitutes— or more accurately, personal brands. The good contemporary artists now– and I’m also talking about the scene queens of Myspace and the club kids of 1980s [[NYC]]— are the people who can take the saturation in visual culture and basically make it their own thing, recuperate some aspect of it into their own brand. That’s what you do, right? The peak-end rule tells us that we judge an experience not on what it was actually like, but on what we remember about it (the peak and the end). If what we photograph helps determine what we remember–think of each photo as an artificial peak–it makes sense to use photographs to optimize future memories, even at the expense of present experience. ==The vision of a body as it labors to make itself into what it wants to be. As desiring subjects, it is as if we are perpetually lacking something that is desired, and whenever we achieve it there is always something more to be desire. We ---can't quite possibly pinpoint it but we know that it is there.==  THE GRACE IN PLEASURE  _”in ‘pornography’ meaning collapses into act”_ The impossible encounter  ### EXPLORE YOUR FORBIDDEN SELF   ````Desiring bodies producing themselves as-subjects in a transcendental space where every face borders on the abstract.````  DEVELOP AN AESTHETIC OF FANTASY WITH US- ARTICULATING AFFECT IN EVER-DIFFERENT COMBINATIONS- WE THINK MAINSTREAM EROTICA IS REPETITIVE AND BORING TO WATCH. WE ARE IN A STATE IN WHICH PRODUCTION IS ENDLESSLY RECYCLED, REPEATED, COPIED AND MULTIPLIED.   LET'S CREATE SOMETHING NEW OUT OF SOMETHING MECHANICAL: ENDLESS REPRODUCTIONS OF THE SAME KISS : EACH ONE UNIQUE.  Female • pleasure • centric  We want to explore your idealized self, the delight in performativity, the grace in pleasure, and the crafting of a sexual self that is to be understood as staged and enacted.  A NEW CANVAS FOR HYPER REALITY ###AVANT/ARTCORE ### THE PHOTOGRAPH AS DIAGRAM ## It is the expression of a woman responding with calculated charm to the man whom she imagines looking at her- althought she doesn’t know him. She is offering up her feminity as the surveyed. Men look at women. Women watch themselves being looked at. ## 'SCHEMATICS OF MONUMENTALITY'  the material presence-of living actors converted into a digital -electro signals -to superimpose something onto that point of view - - which is being scanned, and traced . .  a cyber space of aesthetic [[perception]] into an extended present a project of interpassivity :: her desire of being watched.. her willingness to perform : *transgressions*:: Finding the potential for exhibitionism in others Guattari sees the capitalist eros [as making) itself the accomplice of what is forbidden. This economy of transgression polar is the desiring production in a game of mirrors that cuts it from all access to the real and catches it in phantasmatic representations.” Like cinema itself, capitalist Eros uses forms and desires as deferred objects of worth. An experimental space for haptic audio visual interaction; Finding ideas that speak directly to the imagery of the girl  a [[diagrammatic]] of its machinery; The simulation of girlhood; its [[representation]]; our captivation to its abstract orders  [[GASOLINE DREAMS/Corporeality]] fluxes ; The [[jouissance]] that is inaccessible to the world ;; Rendering the impossible encounter in its orgiastic finality :: [[The terra incognita of those utopias that remain veiled from us]] TIME CUT: ^159965 </summary> /TO HER// ![[GIRL WITH BLACK BANGS, CEPTUM RING AND THE SEX APPEAL OF THE INORGANIC]] “And only a few encounters were like signals emanating from a more intense life, a life that has not really been found.” Maybe I am trying to pin down something that I know I have already lost before I forgot that I ever had it. The parties happening now are not as wild as the wildest parties that I once went to. Maybe I wish I knew where the wild parties of today are. I am trying to think my way back to emotions too strong to admit of any thinking. Maybe there is no way back TEEN SEX ENERGY IS THE AMORAL EROTIC-REVOLUTIONARY FORCE; TEEN SEX ENERGY IS PURE PRESENT-TENSE ACTION; IT IS THE PRINCIPAL THREAT TO SOCIETY-AS-WE-KNOW IT When we are young, the drama of going out is defined by the climactic event: sex, drugs, or sex. Later on, going out becomes an end in itself; any overly targeted attempt at picking someone up would disrupt its magnificent potentiality. The promise we sense, and the risk we feel, is more important than really having something to fear or to hope for. The important thing is to enter into brief and dense contact with as many people as possible, people who are as different and distant from one another as possible; realizing in each instance a maximum degree of commitment for a brief moment—and this moment… We need to realize, and commit to, only as much as is absolutely necessary for maintaining this diffuse mood. In this way we playfully learn what the Nietzsche economy calls networking. It is only when I am ecstatic, outside of myself, that I can be with everyone, that I can float in a sense of potential. A networker must always be ecstatic, must maintain a slightly exaggerated enthusiasm, must get high on the potential of so many contacts that can never be realized or translated into actual collaboration, using this high in turn to leap to the next encounter. The word we use to describe the past six or eight hours is: **intense**. *`Now that was a pretty intense night*.’The resident of a metropolis like [[NYC]] or Berlin leaving home at six or eight in the morning will meet all these smiling faces, satisfied goers-out—sometimes even a newly formed couple, but most are alone—floating homeward, buoyed by the wealth of potential they have just inhaled. ==*“Anything is possible*,”== they think before falling asleep. Coming home after an evening of this type— it is usually very late or already the next morning— we don’t need to review anything. there is no need to go over our friends’ texts with philological precision; it is enough to take pleasure in the birds singing … We study the beauty of the female form because it’s not by pure coincidence that our hyper visual culture revolves around it. It is as if women have “been able to preserve their narcissism, their terrifying inaccessibililty, their independence, their indifference”.. “have managed to preserve what men have lost” or at least it could be said this is what men fantasize about women. Nowadays when all reputational capital is so easily convertible into sexual surplus value,  The giddiness associated with money derives form its nature as pure potential  WALK THE EARTH Real life lies somewhere else / aboriginal time // we forget ourselves. we forget the brutality of bare survival. Courage consists in remaining inside oneself, close to nature, which is oblivious to our crises. >> ascension >> // THIS IS OPEN WAR ON OLD SOCIETY // THE DESTITUENT DEMOLITION OF BOURGEOUIS CULTURE. The ghosts of corporate person hood will roam the streets and old churches occupied by no one. From the death of old social formation, we will climb out from under their ruins onto a playground found here and everywhere else. / Let’s highjack the flows of desire to denounce itself from the spectacle of old money. Let’s question the interest of old formations. Inquiry how interests are domistized and pacificated to the interests of the old world. The bourgeois relations of production constitute the closing chapter of the prehistoric stage of human society.  ## I Acknowledge Psychedelic Class Warfare Exists Against the boredom, passivity and alienation of late capital. Imagine a world no longer organized by the pursuit of surplus value :: The search for some lost connection with a now inaccessible social whole We are a lost generation, desperately clinging to anything that feels real, but too afraid to become it ourselves. We are a defeated generation, resigned to the hypocrisy of those before us, who once sang songs of rebellion and now sell them back to us. We are the last generation, a culmination of all previous things, destroyed by the vapidity that surrounds us." BREAKING THE CIRCLE THAT TURNS OUR CONTESTATION INTO A FUEL FOR WHAT DOMINATES US; LETS DESTITUTE THE WORLD  Let’s establish a division within the idea of insurrection. For there are constituent insurrections, those that end like all the revolutions up to now have ended: by turning back into their opposite. And there are destituent insurrections, such as May 68', the italian creeping May and so many insurrectionary communes. Despite all that it may have manifested that was cool, lively, unexpected, like the spanish movement of the squares or Occupy Wall Street previously, was troubled by the old constituent itch. What was staged spontaneously was the old revolutionary dialectic that would oppose the "constituted powers" with the "constituent power" of the people taking over the public space.  On the roads that always lead revolutions into a cul-de-sac   It is neccessary to intervene in the revolutionary logic, in order to free the revolutionary imaginary of all the old constituent fantasies that weigh it down, of the whole deceptive legacy of the french [[Revolution]]. ## LATE MODERNITY Dromospheric pressure : the tension created by speed in our lives Super modernity and the relics of acceleration // for Bunker archeology is contemporary archeology What about ruins. Why do you find them so interesting? There's a word, restwert. In German it means residual value, so it has no more functional use but there's still something there. It's the aesthetics or the story or the associations. You see an old plane, or an old merry-go-round overtaken by trees, and it provokes a story. It's the immaterial value that I still love. And you know that in maybe 200 years these things will look as they did a million years ago. It just gives you a perspective on how small we all are, and how small this lifecycle is. In Benjamin’s reading of the Trauerspiel, the idea of the ruin is an origin insofar as it recovers the idea of broken wholeness (the fall into material history); it is also messianic in that negatively it invokes messianic restoration. I was introduce to the concept of Heterotopia recently: worlds within worlds ; a placeless place; a physical [[representation]] or approximation of a [[utopia]]. Foucault provides some examples: cemeteries, brothels, gardens of antiquity, fairs, Turkish baths… I was immediately taken back to these paintings of an artificial antiquity that never fail to stir a very special feeling within me. To grant the possibility of [[utopia]] is to give in to the mad, unconditional vow to be done once and for all with the present injustice; it is to give in to the inextinguishable thirst for justice and the immediate, present demand for it. From the dance of these represented ideas, truth is recollected *(“vergegenwärtigt”).* ---- We are heading to this beautiful tragedy when the plans for tomorrow will disappear and there is only now. I wish you were part of it ---- Walter Benjamin, sentry of dreams; He was one who never rested from the struggle of detaching [[utopia]] from myth, one whose vigilance detected the tiny fault line, the breach into which one could rush in order to pull the sleeper up and let him know wakefulness. The sentry of dreams also became a pearl diver, leaving this maxim deposited with us: whenever we have the word "[[utopia]]" on our lips, the imperative to rescue it will always be present. Revolutionary possibility can always be identified by the impossibility it makes real, and by the fact that a process erupts secreting other systems of reference at the very place where the world was once closed. As in all creation (whether artistic, scientific, or social), the suspension of the ordinary course of things first of all affects [[subjectivity]] and its forms of expression by creating the conditions for new subjectivation. These are the “people of intensification,” the “masters” of today: outsiders, experimental painters, pop artists, hippies and yippies, parasites, the insane, inmates. An hour of their lives contains more intensity (and less intention) than a thousand words from a professional philosopher. A SEARCH OF EXISTENTIAL CONSISTENCIES BEYOND THE CURRENT MODEL Capitalism and its reterritorializing regimes, captivate [[subjectivity]] into involvement;  : It ensnares [[subjectivity]] :    “A sense of self-consciousness of existence within a particular environment that brings a revolutionary reordering of life, politics, and art.”  Only the uprising against false consciousness in both ourselves & others will sweep away the technology of oppression & the poverty of the Spectacle. In this battle a painted mask or shaman's rattle may prove as vital as the seizing of a communications satellite or secret computer network. Every vision of the future is one of catastrophe, of climate apocalypse or zombie hordes, of the digitalization of all life or the total breakdown of the self. These fantasies obsess us because they are not phenomenon to come, the great awaiting of melancholia; they are part and parcel of the devastation that we already inhabit, that muffled catastrophe we already feel, that already touches us so intimately… We are living through a catastrophe unprecedented in human history in which what we’ve lost is the world. We have to face that, but we have to face up to the reality that we have also been set free by this devastation that, with a thousand voices, declares itself an expired way of life, **“the abandoned ruin of a dead civilization.**” There is nothing to cry for anymore. There is no use clinging to a future we were promised, which will never come anyway. There is, equally, nothing left to critique, to be outraged or indignant about. It is just our time, our epoch, and there is only us, here, and now. Redeemed experience
Archaic Dispossessedness A new mode of experiencing oneself through the other The visible thing empty of meaning An absolute of absence <quote> **Ekstasis, in ancient Greek, means to step outside yourself. All of a sudden, you have a glimpse of something deeper that might be behind the images. Something like an ecstasy of truth.** </quote> Could we find a break in the linear tie – the linearity present has towards future? A future orientation this fleeting yet constant world has in every instance of perpetually splitting and recreating. #### Time is Breaking us Apart Redirecting attention to the space of preconception - peeling back the conception of a real down to the naked experience – hidden from view by layers of preconceived thought forms – Illuminating the perceptions of cosmic labels imprinted upon form as a seal of true [[perception]], you might call them hallucinations, I call them, [[((Logos))]] If it’s all about time: Breaking down modern felt-temporally (chronos) in an act of unification -synchronizing experience to itself in the preconception of the very same experience, synchronicity: cutting off the continuity of a temporal self-locking loop we call historical progress- What is at first sight the most burdensome pronouncement namely, the endless recommencement of the same acts and the same sufferings - now appears as redemption itself, once the soul realizes that it has already lived through other individualities and experiences - who knows that he has pre-existed otherwise than he now exists, and that he will yet exist differently, from one ‘eternity to another’. (Nietzsche and Vicious Circle ) We have never gone anywhere but now,
 Because we now sit at the Limit-Point; at the brink of transcendence- ## INPUT TIME --:-- > Seeing from the field of the omnidirectionaly Other, a radical discentering of the Cartisan subject. An attempt to bring rupture to a framing paradigm: to bring art to a limit-point The image is made to float on the forces which lie outside the frame, something cuts across it - The traces of those unaccountable places where the viewer is not: the object’s remainder... A process of illumination::  to understand existence under a lustre of luminous ordinance, that the ground of our being is the existence of everything else. The-erotic act's only temporal condition is the present   The negation of thought needs to know the very movement of thought, -- away of the past translating the present. Can thought cease to interfere? To live righteously by the negation of thought. The highest capacity of thought ceases the interference that produces time. ### Recognition of the absolute in the decaying ruins of modern experience ![[capitalism]]