<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/305888412?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="THROW YOURSELF AWAY AND BUILD A NEW YOU- TEST SHOTS / LOCATION SCOUTING"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script> # SCRIPT GASOLINE DREAMS THE GIRL ( _________ ) 28 • BK Role in Story Visual researcher / anthropologist // creating field notes & records of pretty girls and their ontology To galvanize a revolt made absolute A fiction that tells the war of our time Progress which is not just a repetition but also an accumulation towards an orgiastic end : Apocalyptic narratives accumulate climaxes in addition to developing toward them; they de-emphasize beginnings and middles and allow the entire narrative space to become repetition of climatic moments THAT IS IN ESSESNCE AN APOCALIPTIC NARRATIVE / (Personality/Habits/Mannerisms ) A story of becoming ; a resistance fighter ; a runaway She likes to read on theory, photography, post-pornography, 4th wave femism, researching, and reading some more. A sophisticated technogoddess at home in either the woods or Exploring the ruins of the urban decay. An impatient pedestrian, vegan, feminist, Buddhist. A marvelous balance of superficial and profound. Discheveled but elegant. perceptive. has occasionally been described as 'put together' 'winter boyfriends. summer motos' is her motto. Driving and riding at speed; not unlike the character of Mr. Wolf in pulp fiction. Occupation She's an anthropologist ; a visual anthropologist. Designer of experience. Creator of phenomena. The criminal-poet-philosopher. [[reality]] Hacker A ghost with an uncanny ability to run from the law : Dark secrecy : shadowy and clandestine figure. Anarcho -Autonomous. The Devil's party. ## She displays a heroic willingness to encounter the unknown and articulate it # critique of the spectacle- transcendence of the commodity economy- abolition of work - freed creative activity - Background Dark Techno club goth. Raised for a future that no longer exists. [[VFXאX HOLOGRAPHIC 3D INTRO SCENE INTO THE GIRL]] [[BLACK BANGS AND THE SEX APPEAL OF THE INORGANIC]] 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. [IMAGE OF EYEBALL] THE SCOPHILIA OF A BAD CAR WRECK ::"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 under the shadow of its military-industrial scientific-complex :: [[WELCOME TO THE ANARCHY JUNCTION]] 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. Destituent exodus - consider a withdrawal from the production of the dominant social relations that are inherent in the possession of money! A UTOPIAN FANTASY 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 [TO BE MANUFACTURED AND DISTRIBUTED FOR MASS SPREAD) A WEAPON OF MASS AWAKENING TO BRING SOCIETY FROM THE BRINK OF MASS HYSTERIA AND SELF DESTRUCTION Sneaking LSD Into the Water Supply of the reginal Trans Mountain Pipeline Construction Site | Targetting the bible belt; May they find Jesus Bringin down a death cult with the brutality of MK ULTRA THIS IS MY MEMOIR. IN THE FORM OF A CONFESSION OF CRIME, AS IF IT WAS A DIARY: ESCAPE VELOCITY Preliminary materials for the Next Great American Manifesto : CINEMA IS  OUR TRUE RELIGION : —TRASH GAM // A ROAD MOVIE // WEB SERIES OF ENDLESS WANDERING AND SEDUCTION  ADVENTURES >> EPISODIC NARRATIVE >> TO LIVE IS TO RISK IT ALL AN ETERNAL ROAD TRIP  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- 'They live on the desperate edge of the now'. :: Gasoline Dreams :: filled with new horizons and nomadic [[[[[[[[dérives]]]]]]]] (French: [de.ʁiv], "drift") "A sort of Western tantric porn might help galvanize the corpse, make it shine with some of the glamor of crime." 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 –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; exjstential 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. Wander 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 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. --------- DESIRINGSUBJECTS as anthropological lifestyle series Desiring bodies producing themselves as subjects; bodies at the work of pleasure.They seek adventure in artistic innovation & non ordinary sexuality - Within a story that works to develop it A story of meta production ORGANIZE /INTERVIEW / RESEARCH POTENTIAL SUBJECTS // RECRUIT // PROPOSE PROJECT IDEAS / SELL THEM ON THE IDEA / DIRECT / BRAND Galvanize the best [[cam girls]] with the right pitch / story / angle - The cover is meant to look like an academic journal. I took inspiration from textbooks and an obscure moment in pornography when magazines mimicked ethnographic studies or medical research journals. visual researcher / anthropologist, creating field notes, records of pretty girls and their ontology Brooklyn Based new media studio for the experimentation of media interaction design. It's an independent research study regarding contemporary visuality as much as it is an act of production itself . I talked to these girls into experimenting the idea of an intimate photographer conducting a Production-as research long-term project. My life consists of sleepless nights in a technofile's wet dream of a closet warehouse room in Williamsburg, 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; THIS IS MY MEMOIR. IN THE FORM OF A CONFESSION OF CRIME, AS IF IT WAS A DIARY Creativity for filmmaker is similar to creativity for a researcher. I'm a filmmaker by trade so I like to paint stories with my sets. NARRATIVE VOICE? WHO IS IT? IS IT HER THOUGHTS? She types into a Lettera 10 Portable Typewriter, circa 1976 THE PLEASURE IN LOOKING: SCOPOPHILIA  transferantial relation, to an other —- an interpassivity "to be performing actions, not for the viewer, but in the place of the viewer". Presence is negotiated through a particular dynamic of transference there is always ritual----—-sexual personas--------- Precisely because sexual imagery has always been coopted by capitalist desires, we seek to find the erotic revolutionary emancipatory / insurecturational / potential in film-images.   "It's about giving this deserted fiction a new content. We talk, we lick each other, we make a film, a party, a riot, we meet a friend, we share a meal, a bed, we love… we need fiction to believe in the [[reality]] we're living." We are interested in exploring how the sex appeal of the young can help shape the subversive logic of those who are overly alive; the young, overflowing, rebellious corporealities. Us. We want to explore your idealised 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. The urge to record intimate experiences is the driving force behind my pursuit of lifestyle photography. The goal is to intellectualize my own sexuality, so as to speak of intimate labour, and the holographic power that is given when one is looked at and desired as an image-object. THERE WERE TWO INDUSTRIES OF INTENSITY: LOVE AND WAR [[[[TINDER SUBJECTS]]]] TO LOOK AS PHOTOGRAPHY LOOKS THEORY OF THE FLESH  Finding ideas that speak directly to the imagery of the girl: a diagrammatic of its machinery; Momentary fleeting attractions : a theory of seduction; girlhood and its sexuations The politics of girlhood Finding access to its [[representation]]  Simulating contemporary personhood  The vision of a body as it labors to make itself into what it wants to be. Engaged in an ongoing performance of the modern meta-narrative of self as a developmental project.   Is the vision of the young-girl a privileged connivence? Biocapital Subjecthood  : capital flows, movement of desire : Who is our mystery girl- you know the girl- ineffable beauty- a danger to look at. She wears overalls and tiny dresses, skinny jeans or shorts, rompers, skirts and one piece swimsuits. Her exterior was entrancingly polished. Youth, for her, was not a transitional age—for this post-modern one, youth was the only time befitting a human being. Her beauty had no need of ideals, it was in and of itself an ideal" Marble dark boot, army green cloth, The club kid, the goth, the post punk space cowboy, the mermaid- the mythos of humanity ; A marvelous balance of superficial 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 >> For what then matters most is to bear witness to the uniquely human potential at its best, which is to transform a personal tragedy into a triumph, to turn ones predicament into a human achievement \The fact remains that we must organise ourselves, organise on the basis of what we love to do, and provide ourselves the means to do it. The epoch belongs to the determined. \ / 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.  Practices anonymity like some others practice terrorism- in all the coming forms of sabotage; it doesn't critique society so as to improve it, but instead spreads doubts everywhere about the existence of society itself, points out the maneuvers of a faceless internal enemy, and is engaged in a permanent conspiracy against that fiction, anticipating a mass desertion of the social corpse. "We have time to go down this criminal road; nothing's rushing us to seek out direct confrontations." "Yes, it's true, all of them, consciously or not, are part of that old world we must now fight against." Ultimately, those who wake up are the nightmare of those who still sleep.  [[[[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. DESIRE, VALUE, AND SIMULACRUM—the triangle that dominates us  A world that stands at the edge ; a new dawn fades  In German 'the apocalypse' means 'the youngest day'  "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  limactic 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 e counter. 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 Vienna or Berlin leaving home at six 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 … 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. "What we need to begin thinking about is the totality of society under attack. We are facing a new subjective space, one that threatens power and ignores it. It's not political because it refuses any social role. There are no demands, there are no negotiations. // It's mass exodus on the spot. Bernadette Corporation 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.  "it's about giving this deserted fiction a new content. We talk, we lick each other, we make a film, a party, a riot, we meet a friend, we share a meal, a bed, we love… we need fiction to believe in the reality we're living." :: Capturing moments of human sexuality AND EXPLORING FANTASY SCENARIOS OF THE DESERTION FROM THE CRAPPY RELATIONS WITH ONESELF, OTHERS, AND THE WORLD UNDER CAPITALISM The disappearance of forced labor coincided with an explosion of creativity in all fields in written, spoken languages, in behavior in tactics, techniques of struggle, songs, posters, etc It demonstrated the quantity of energy lost in the time spent trying to survive, the days condemned to the socially necessary work, in shopping, in front of a television, in what has become the principle of passivity.  For capital, the disintegration of wage-earning society is an opportunity for reorganisation and a political risk. The risk is that humans might devise an unforeseen use of their time and their life, that they might even take to heart the question of its meaning. // THE EPOCH BELONGS TO THE DETERMINED 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. THUNDERING ACROSS THE CONTINENT ON EXPRESS LINES; RUNNING ON THE LAST FEW DROPS OF AN ENDING EMPIRE. This moment of rebellion allows them their first taste of freedom. Everything can be possible. Can they assume it to the end? Wandering relieved the feeling of being a stranger everywhere.  Wandering governs this abandon. we wander. We wander amongst the ruins of civilization. Precisely because it is in ruins. this civilization. there is no need to confront it. it really is a strange war that we've entered into. and that requires the production of worlds and languages. the opening of places. the building of homes. in the midst of a disaster For a long time, the pattern of human movement on earth took the form of a linear exodus, from a given point to a promised land; the biblical myth is the archetypal example. The form that is taking hold now is the closed-circuit, repeated exodus: an exodus where you move around infinitely. Everyone can see that this civilisation is like a train rolling towards the abyss, and picking up speed! The current disaster is like a monstrous accumulation of all the deferrals of the past, to which are added those of each day and each moment, in a continuous time slide. But life is always decided now, and now, and now. Inwardly, many people have chosen to leap off the train, but they hesitate on the footboard. They're still restrained by so many things. They feel held back because they've made the choice, but the decision is lacking. Decision is what traces in the present the manner and possibility of acting, of making a leap that is not into the void. We mean the decision to desert, to desert the ranks, to organize, to undertake a secession, be it imperceptibly, but in any case, now. Destitution makes it possible to rethink what we mean by revolution. Destituere in latin means: to place standing separate, raise up in isolation; to abandon; put aside, let drop, knock down; to let down, deceive. We need to leap outside and dance above it" as Jean-Francois Lyotard explained recognising the gesture of Deleuze and Guattari's Anti-Oedipus. The fact remains that we must organise ourselves, organise on the basis of what we love to do, and provide ourselves the means to do it. It™s useless to wait- for a breakthrough, for the revolution, the nuclear apocalypse or a social movement. To go on waiting is madness. The catastrophe is not coming, it is here. We are already situated within the collapse of a civilization. It is within this reality that we must choose sides The destituent gesture does not oppose the institution. It doesn't even mount a frontal fight, it neutralized it, empties it of its substance, then steps to the side and watches it expire.  So the revolutionary gesture no longer consists in a simple violent appropriation of this world; it divides into two: On the one hand, there are worlds to be made, forms of life made to grow apart from what reigns, including by salvaging what can be salvaged from the present state of things, and on the other, there is the imperative to attack, to simply destroy the world of capital. A two-pronged gesture that divides again: it’s clear that the worlds one constructs can maintain their apartness from capital only together with the fact of attacking it and conspiring against it. It's clear that attacks not inspired by a different heartfelt idea of the world would have no real reach; would exhaust themselves in a sterile activism. There's no longer any innocence left in this world. We only have the choice between two crimes: taking part in it or deserting it in order to bring it down. Between the disposition to enjoy our piece of the world and the disposition to place it at stake. Comfort clouds perceptions, takes pleasure in repeating words that it empties of any meaning, and prefers not to know anything—is the real enemy, the enemy within. Here it is not a question of a new social contract, but of a new strategic composition of worlds. 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)) 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. They 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. "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. 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. 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 We know that individuals are possessed of so little life that they have to earn a living, to sell their time in exchange for a modicum of social existence. Personal time for social existence: such is work, such is the market. But 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   Redeemed experience
Archaic Dispossessedness
A new mode of experiencing oneself through the other The visible thing empty of meaning An absolute of absence how to emerge out from under the concept ; the paralysing magic of the sign; There was a time...
There was a time... 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 --:-- [the new Fatalism] 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 (Bryson, 1988: 98) the-erotic act's only temporal condition is the present   Time is thought.
You are the past looking at the present. The negation of thought needs to know the very movement of thought, choiclessly 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 [[New Sensorium]] [[[[perception]]]] and affect
The ability to find appropriate expression for one's thoughts Oscillation between immanence and the absolute Revolution of experience
Coming out from narcissistic cocoon of [capitalistic] phantasmagoria 
an addiction to what he termed "phantasmagoria": the creation of a dream- and wish-reality; an all-encompassing and cognitive form of compensation, SUN CULT & CINEMA
Cult of Speed : An Anthropology of Speed an anthropology that delivers intelligible information about the state of the world; a philosophy of speed. To dwell deeper into the thesis of this anthropology of speed, we will take a look at [[[[Walter Benjamin]]]]'s neurological perspective on the modern of experience. It centers on shock : "Freud was concerned with war-neurosis, the trauma of "shell shock" and catastrophic accident that plagued soldiers in World War I." Benjamin claimed this battlefield experience of shock has become the norm in modern life. Benjamin is interested in what the human sensorium must ward off when exposed to the technologically altered environments of everyday life. Shock Impulses. Benjamin is primarily interested in recuperating a mental and experiential space in which the modern individual can renegotiate and reconfigure his relationship to other Aisthesis is the sensory experience of [[perception]]. The original field of aesthetics is not art but reality—corporeal, material nature. . . . It is a form of cognition, achieved through taste, touch, hearing, seeing, smell—the whole corporeal sensorium. | trauma of the real | The motor responses of switching, snapping, the jolt in movement of a machine... The space of the image is an empty signifier: How then to tease out meaning? The goal- Theory that reads like music. PARAPORNOGRAPHY a simultaneous ironic and affirming attitude toward pornography  The main technologies of parapornography, extracting poetry from the postpornographic condition -to brithely create art out of pornography - eroticism as an art beyond the ecstacy of orgasm, liberation of the desiring gaze.   What is there to reveal when the representations of uncovered sex teases our eyes all day long -- delivering new promises of reality -- an orgiastic finality --portraying the body as an infinity of moving prisms - a higly relativistic space time based on a non-euclidean anatomy a prismatizing motion  *** mechanical reproduction - to blur the line between animal and machine in man to create a restless poetic excitement   ***  the infinity of revealing  ***  the exploded affection theory  **** the critical will to power  the accumulation of revelations   PORNOLOGY Is what we are seeing an optical or, more precisely, an optoelectronic fetishism? Should we avert our gaze, gingerly sneak a sidelong look, and so avoid the exploitative focus on offer? porno-logic: If there is fantasy in pornography, it is not of sex, but of the real. There is no mystery anymore in erotica, that's the real problem. We would say the clear absence of this mystery is what makes a work "pornographic", that's part of the explicitness, nothing is implied for sake of showing it all. But with softcore titles, sex is cinema, the mystery is alive, that's the art of seduction, what is implied is more powerful than the explicit sex. The thing about softcore is that they always cut it too short, the sex happens hurried, its pacing is usually too fast, it doesn't linger where it's most intense. TO IMPROVISE IS TO DREAM UP A SITUATION ON THE SPOT Hold her in your gaze,  It's all about the ways we fantasize someone we like -  Imagine situations on the spot, that is your role as artist, photographer, lover- to dream up situations, encounters falsehoods They say the personal is pornographic - NSFW - the sacred frontier between high culture and vulgarity  the art-slut. she is every woman; behind you, next to you, in front of you. the art slut: at the same time artist and artifice, using her body as the surface of her art. embodied sexuality performative  intimate labor display of the body holographic force of the feminine erotic creature  --an intersection of art, porn, dance and performance -- the gazed-upon turns the gaze on itself and begins to describe what it sees when you are looked at and desired as an image-object,  becoming desirable - the desire to be recognized as desirable  it is always a question of arousing the other's desire,  invading the other's imagination, venturing into the reality of the other- Imagining the unleashed potentiality: trace the deadened life within this phantasmagorically dissociated existence trace the ruins the old world has left within us; disposition of gestures linking affect to words - a certain sentimental education In the 1980s, Michel Foucault and Guattari each followed different paths to arrive at the conclusion that the production of subjectivity and the constitution of the "relation to the self" were the sole contemporary political questions capable of pointing the way out of the impasse in which we still continue to founder. Each in their own way they revealed a new dimension irreducible to power and knowledge relations. Guattari speaks of the urgency through which [[cinema]] can alter all systems of discourse through signification. Here the image creates a spatial rupture that dislodges our relation to it as part of a serialized nostalgic 'before' and an anticipated or expected 'after'. Deferring objects to empty signifiers delays their affects; a mirroring that reflects endlessly, All signifying systems from law to art play this game of delay. All exploit their capacity to endlessly refer desires and pleasures to dematerial empty economic structures. Each desire event is bled of singularity. Cinema is real, however. It is material and forcefully affective, while the world of capitalist Eros is a world-made [[cinema]], as reflection rather than creation. Even in cinema that adheres to the most traditional significations and patterns, there is always a residue of pleasure. This is a "cinematic" feel or a risky, excessive, [[[[semiotic]]]] moment; the genitals take their seats in utopian places, non places that make everything come into place, there is a parapornographic movement. In a similar way, parapornography wants to use its special technologies to combine and surpass two conflicting events: the pornographic event and its moral twin, the antipornographic event. The power to read and extract ecstasy from the pornographic-antipornographic complex is closely related to a prominent feature in parapornography: ambiguity. The [[[[utopia]]]] that haunts pornography is homogenous, clean, essentialist. It confirms the traditional social roles, even if it simultaneously acts out antisocial desire in an excessive way. It is true that it extracts enjoyment from role-playing that materializes conflicts between classes, genders and generations: the secretary and the director, the police officer and the activist, the head teacher and the naughty student, the adult man in schoolgirl uniform and so forth. But as in postpornography, this play tends to be directed in accor dance to certain pre established principles. In its ambition to change pornography into something more humanistic, feminist, socialist, queer, ecological, fair, equal, – a sort of "capitalism with a human face" the postpornographers often lose their grip on the use value of masturbation. While the antipornography movement takes the place of censorship and acts as a designer and regulatory apparatus of pornography, postpornography empties pornography of its life and plays with the dead exoskeleton. What's the difference between parapornography and postpornography? There are overlapping parts. But generally speaking, postpornography tries to reform pornography and use its expressions for the purpose of morally good aesthetics and politics, while parapornography, on the contrary, focuses on the excitement in pornography - the mechanical, the productivity of power relations, the endlessness of uncovering - in order to create an orgasmic poetry or, in other words, an endless orgasm. -------------------------------------------------------- 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." 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. 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] You need is a powerful vision of the future with all its dangers but it's 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. 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. CARL JUNG—PSYCHOLOGICAL TYPES THE DEMOLITION OF BOURGEOUIS CULTURE "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."