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# 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.Â
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."