CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
---
http://chirotzerozine.blogspot.com
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.com
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... books.google.com/books?isbn=0312263805... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... www.huffingtonpost.com/.../leonard-peltier-american_n_265764.html - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US


Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667
icasualties.org/oif/

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
http://icasualties.org/oef/


=

Cost of War in Iraq

$691,188,637,164

Cost of War in Afghanistan
$229,137,844,021

The cost in your community

www.nationalpriorities.org/index.php?option=com_wrapper&Itemid=182

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual


VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
http://davidbaptistechirot.blogspot.com
Addresses: david.chirot@gmail.com
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
USA

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'



Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'


The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.


The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Sunday, December 30, 2007

el boek861 esta de vuelta




Date: Sun, 30 Dec 2007 14:34:40 +0100
From: cesar@boek861.com
To: fog597@yahoo.com.ar
Subject: el boek861 esta de vuelta

http://boek861.com
1
Ya de vuelta de nuestro periplo navideño hemos venido con las ideas muy claras: Sin miedo y con valor, ¡¡¡¡¡¡¡¡endavant 2008!!!!!!!!! este deseo el  Taller del Sol lo ha podido materializar en el Portal de Belen de Roda de Bará gracias al montaje del COLECTIVO CAP I CUA que de este modo celebra la despedida de año con la fuerza, el valor y  el coraje propio de los vikingos de La Pampa
1
Brindamos por todos vosotros porque habeis sido buenos, nobles y generosos.
1
Mucha buena gente hemos encontrado en el camino, como Ibirico en la provicia de Toledo, con el que hemos cerrado un trato para combatir a malandrines y maleantes con poemas visuales y mail art. De todos estos encuentros y de la multitud de noticias con las que venimos cargados, os daremos cuenta en fechas próximas, pero de momento queremos presentaros a un buen amigo que tiene mucho que ver con nosotros
1
Se trata de Antonio Pérez. La foto ha sido realizada en la Fundación Antonio Pérez, antiguo convento de Las Carmelitas y hoy dedicado al arte contemporáneo. Y lo interesante del caso es que dicho espacio está muy relacionado con el mail art, la poesia visual, el libro de artista, los objetos imposibles y los objetos encontrados. Esto quiere decir que en el futuro el Taller del Sol podrá realizar algún tipo de colaboración con esta Fundación, puesto que ya hemos establecido el primer contacto

Os dejamos con una reseña sobre Antonio Pérez y su Fundación


7 de diciembre de 2007


"A Antonio Pérez"
Escrito por Sixto Pozo
Artista para unos, coleccionista para todos. Antonio Pérez recoge en la fundación que lleva su nombre los tesoros acumulados durante toda una vida: obras pictóricas, literarias, escultura… Es un personaje singular que lleva toda su vida reuniendo la obra pictórica y gráfica de algunos de los artistas españoles de mayor prestigio, como Antonio Saura, Millares, Canogar, Feito o Luis Gordillo, y acumulando lo que él llama 'objetos encontrados'.

En cada esquina de cualquier lugar puede haber una obra de arte. Sólo tiene que haber alguien que la busque y ahí entra la figura de Antonio Pérez.

Como delegado provincial de Cultura podría destacar de su persona muchas cualidades, pero me quedo con la pasión con la que emprende todos sus proyectos y su sensibilidad hacia el arte y la literatura.

No querría calificar de temeridad el prescindir de dichas cualidades, pero es, cuanto menos, un lujo que una ciudad que aspira a ser Capital Europea de la Cultura no debería permitirse.

En la actualidad, Antonio Pérez es un gran embajador del arte contemporáneo en Cuenca y, a su vez, una persona con un alto grado de relación con los intelectuales y artistas de nuestro país, principalmente de la segunda mitad del siglo XX.

Coleccionista, editor y artista, Antonio Pérez decidió convertir a Cuenca en su casa en 1975, una morada que ahora no debería cerrar sus puertas a un inquilino de prestigio contrastado y que ha sido testigo directo del devenir de muchas tendencias que han ido construyendo el amplio espectro artístico de la segunda mitad de este siglo.

Aunque nació en Sigüenza, bien sabemos que se siente conquense porque fijó esta ciudad como destino de su colección, obra pictórica, dibujos y gráfica original, y también de su inmensa biblioteca cuajada de joyas literarias y documentos únicos.

En 1998 se unió al Museo de Arte Abstracto Español la Fundación Antonio Pérez en Cuenca, reclamo para el viajante, el artista y el soñador, y referentes a nivel nacional.


No me gustaría entrar a valorar las formas, puesto que ya las ha relatado el propio Antonio Pérez y asegura que no fueron las mejores, pero en este proyecto de ciudad que apuesta por la cultura debe haber cabida para todos y, sobre todo, para los mejores.

Me quedo con una frase que el propio artista ha manifestado y que es muy elocuente: "siempre he dejado claro que a mí la cultura no me gusta teñirla con cuestiones políticas". La Fundación Cultura Ciudad de Cuenca no le tendrá entre sus patronos y eso para muchos conquenses, entre los que me encuentro, es una decepción.

 
...y os remitimos a la galeria de imágenes del Boek861 y a los diferentes apartados de autoedición para tener información de todo lo que venimos comentando hasta aqui
httpp://boek861.com







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a arte de Almandrade - Brasil




From: almandrade2@hotmail.com
To: intrude366proposals@gmail.com; bonicamennett@gmail.com; performancelogia@gmail.com; citizenandneighbor@gmail.com; colectivochocolatero@gmail.com; lauren.bender@gmail.com; galataperform@gmail.com; fast_dada-ning@yahoo.es; davidbchirot@hotmail.com
Subject: Fw: a arte de Almandrade - Brasil
Date: Sun, 30 Dec 2007 14:37:20 -0200

 

 

The Art of Almandrade

 


Almandrade's works centre on the cooling down of the ecstatic gaze. Not the gaze fixed on what it was, but on what it is. He interprets the icy space of the city. Architect, theorist, poet and artist, Almandrade meditates on pleasure. His time is different, and so is his space. His work is not set on a single track, which undermines the notion of a monolithic creative impulse.
Using very few elements, he re-examines the process of creation, thus endowing his work with a self-reflective quality. His cold and disconnected images ponder on the diversity of being; being conceived as sensibility, and sensibility as an element of transgression. The ambiguity present in his work is perhaps more clearly seen in the desire for immobility. Fantasy, then, is produced through the perpetual annihilation of the will. The fragmented nature of ecstasy is what keeps perversion at bay. Almandrade and his objects drift untiringly, transmitting a vivid feeling of time not passing. And at that point, instead of pain we find reason.
Luiz Rosemberg Filho
 
El nombre Almandrade - en realidad el artista se llama Antonio Luiz M. Andrade - está asociado a una singular estrategia dentro de lo que se llama arte contemporáneo. El artista plástico, poeta y arquitecto ha producido una obra que se encamina hacia una estética minimalista, hacia una poética que se expresa utilizando un vocabulario mínimo, ya sea pictórico o linguístico. Almandrade es uno de los principales nombres de la poesía visual de Brasil de los años 70.
Según Nicolás Bernard, la ciudad de Bahía, en Brasil tiene sus supersticiones y sus sorpresas culturales, entre ellas Joao Gilberto y Glauber Rocha y por qué no, se pregunta, Almandrade. En definitiva, un artista que viene sorprendiendo desde hace treinta años con el rigor, la sutileza y la coherencia de trabajar con distintos soportes seguido por una tradición de un saber singular. 
 

 

1 - projeto de intervenção urbana - 1977
 
2 - poema visual -  1973
 
3 - cadeira com elástico  - 1976
 
4 - campo (instalação) - 1978
 
4 - desenho  - 1977
 
5 - 0bjeto - garrafa de cerveja e foto do artista - 1977
 
6 - objeto - madeira, tubo de pvc e esponja  - 1979
 

O  PARADIGMA   ALMANDRADE

 

A Bahia tem suas supertições  e suas surpresas culturais , indiscutíveis, como: Glauber Rocha e João Gilberto. E por que não um Almandrade com suas experiências visuais? Artista plástico, poeta e arquiteto, um clássico fora do eixo (Rio /São Paulo). O trabalho de Almandrade vem se impondo como um lugar à parte da chamada "arte contemporânea", sua relação intensa e cerebral com o fazer artístico, faz lembrar  Wittgenstein e a filosofia. Um  paradigma. Há cerca de trinta anos vem nos surpreendendo com o rigor, a sutileza e a coerência de lidar com diversos suportes, segundo a tradição de um saber singular.

 

Estamos diante de construções que são simplesmente arte, um oficio de quem domina um determinado conhecimento. Incompreensível para leituras apressadas. Talvez, o seu tempo ainda não tenha chegado, só  o depois de amanhã lhes pertence, Nietzsche não diria melhor. Entre um construtivismo meio paradoxal e um conceitual critico e mordaz sua arte se mantém fiel a uma poética.

 

(Nicolas Bernard)



Poética da leveza

O trabalho de Almandrade, tanto pictórico quanto lingüístico, vem se impondo, ao longo de todos esses anos, como um lugar de reflexão, solitário e à margem do cenário cultural baiano. Depois dos primeiros ensaios figurativos, no início da década de 70, conquistando uma Menção Honrosa no I Salão Estudantil, em 1972, sua pesquisa plástica se encaminha para o abstracionismo geométrico e para a arte conceitual. Como poeta, mantém contato com a poesia concreta e o poema/processo, produzindo uma série de poemas visuais. Com um estudo mais rigoroso do construtivismo e da Arte Conceitual, sua arte se desenvolve entre a geometria e o conceito. Desenhos em preto-e-branco, objetos e projetos de instalações, essencialmente cerebrais, calcados num procedimento primoroso de tratar questões práticas e conceituais, marcam a produção deste artista na segunda metade da década de 70.
Redescobre a cor no começo dos anos 80 e os trabalhos, quer sejam pinturas ou objetos e esculturas, ganham uma dimensão lúdica, sem perder a coerência e a capacidade de divertir com inteligência. Um poeta da arte e um artista da poesia. Um escultor que trabalha com a cor e com o espaço e um pintor que medita sobre a forma, o traço e a cor no plano da tela. A arte de Almandrade dialoga com certas referências da modernidades, reinventando novas leituras. Trabalha com o mínimo de elementos pictóricos, duas ou três cores, dois planos, duas ou três texturas, um traço, etc. e vemos uma pintura, um objeto e uma escultura. Algo criativo que menosprezamos ao primeiro olhar, mas logo que somos mergulhados no clima que eles nos impõe, descobrimos alguma coisa de novo. A simplicidade que predomina nas composições desperta a imaginação e o raciocínio.
Sua poesia também traduz esse princípio de uma poética do mínimo e da leveza. Poucas palavras, versos curtos e soltos, sintéticos, muitos sem títulos e sem floreios. Artista plástico, poeta e arquiteto, Almandrade (Antônio Luiz M. Andrade) é um pioneiro da contemporaneidade na Bahia, embora sem o reconhecimento que seu trabalho merece. Como disse certa vez o poeta Cleber Borges: "Almandrade é uma daquelas personagens aparentemente deslocadas no tempo, ou à parte, que parece caminhar para o lado, quando o relógio insiste em tocar para frente". Assim é sua poesia e sua arte.
Sua arte e sua poesia, aos poucos, vem sendo reconhecidas no Brasil e no exterior. Em 1997 participa da antologia International Poetry Review, com um poema traduzido pelo poeta americano Steven White. Hoje, a arte e a poesia de Almandrade representam o outro lado da Bahia e tem como palco a reflexão sobre a própria arte e sobre o estar no mundo. Destacam-se pela diferença e por uma trajetória singular. Como afirma o poeta Haroldo Cajazeira, Almandrade, sem se deixar devorar pela província, produz, com sua arte, "um saber sobre a impossibilidade de consistência de um
sistema de signos.

Dênisson de Oliveira



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FW: Notas sobre Arte




Date: Sun, 30 Dec 2007 14:32:52 -0200
From: virtualidades.news@ibest.com.br
To: intrude366proposals@gmail.com; bonicamennett@gmail.com; performancelogia@gmail.com; citizenandneighbor@gmail.com; colectivochocolatero@gmail.com; lauren.bender@gmail.com; galataperform@gmail.com; fast_dada-ning@yahoo.es; davidbchirot@hotmail.com
Subject: Fwd: Notas sobre Arte




Notas sobre Arte


Por Almandrade
[Artista Plástico, poeta y arquitecto brasileño]
 
El Arte es una forma de conocimiento que exige lecturas y reflexiones específicas.
 
Su apreciación no se limita a mirar a simple vista. Sin las informaciones necesarias pasan desapercibidas las búsquedas y la profundidad de su lenguaje. La apariencia satisface al mirar desatento.
 
"Sólo se ve aquello que se mira" (Merleau-Ponty). Lo que percibimos en una obra de arte es aquello que recogemos en nuestro modo de ver. El hombre es insertado en una sociedad, en un lenguaje, por donde aprende a ver, pensar y sentir. El lenguaje es el dispositivo a través del cual él se apropia de las cosas, de los seres, de las formas y de los colores.
 
Como arte puede ser cualquier cosa, en nombre del arte contemporáneo, somos muchas veces colocados delante de alguna cosa que dice ser arte. ¿Cuál es el criterio?
 
Para el artista no basta saber pintar, mucho menos apropiarse de imágenes u objetos, de forma aleatoria, es indispensable tener referencias y disponer de un método. Cada artista concibe su arte a partir de su propia teoría, aunque esta no esté formulada explicitamente.
 
Una obra encierra múltiples posibilidades de indagación. Recreamos las imágenes en nuestra percepción, y las modificamos subjetivamente de acuerdo con nuestra experiencia de vida. Proyectamos sobre ellas nuestros valores y nuestras inquietudes. Las obras de arte se completan de maneras diferentes en la imaginación de cada espectador. Es también objeto de decoración, acrecienta al espacio habitado la curiosidad de un abrigo poético.
 
Para hablar de arte es necesario aprender el método de observar su producción, es preciso ir del concepto a la obra y de la obra al concepto. Se comprende el arte a partir de la obra, un proceso ligado a la experienciay al pensamiento que acciona ciertas condiciones subjetivas del conocimiento. Se conoce al artista a través de su obra, y esta es una invención de la actividad del artista, (Heidegger).
 
Es un hacer político localizado. El arte tiene su propia materialidad. No es lugar de apoyo para otras políticas, así sean las llamadas culturales que ignoran cuestiones a cerca de los lenguajes y sus transformaciones. "En el transcurso de grandes períodos históricos, junto con el modo de existencias de las comunidades humanas, se modifica también su modo de sentir y percibir", (Walter Benjamin). El arte participa de esas mudanzas como tarea política de transformar la realidad dentro de un territorio determinado del saber.
 
El arte está sujeto a un sistema de poder extraño al hacer cultural. El arte deja de ser visto como un fenómeno cultural, para tornarse un hecho exclusivamente social y de mercado. El problema no es el mercado, él es necesario y tiene un papel importante en el circuito del arte, mas la importancia que viene asumiendo como agente principal del circuito que hasta facilita la producción, sin duda, pero hace que el valor de cambio deje a un lado la reflexión.
 
Estamos atravesando un momento donde es cada vez más difícil la producción cultural sin la interferencia de los media y de los intereses del mercado. Si la ética de esta sociedad es el consumo, todo pasa a ser determinado por la ley del mercado: la salud, la educación, la cultura, etc.
 
El intelectual y el crítico son descartables en una sociedad donde el mundo del pensamiento es poco tolerable; por otro lado, los patrocinadores, los empresarios del arte, los profesionales de marketing, los curadores... son los protagonistas del arte.
 
El artista que era un artesano descalificado hasta el siglo XIV, a partir del Renacimiento pasó a ocupar un lugar destacado en el territorio del conocimiento, y en este final de milenio es considerado el villano de la cultura.
 
Lo que viene ocurriendo con las artes plásticas y la cultura de una forma general, forma parte del espectáculo de una sociedad que ve en la acumulación de riquezas el objetivo de vida. Así, una institución cultural que disponga de pocos recursos, dejará a cargo de los patrocinadores la programación y la política cultural.
 
Almandrade
 
Traducción del portugués: Iris Pérez Ulloa

Almandrade se desempeña desde hace más de 30 años tanto en las artes plásticas, como en la arquitectura, el diseño y la poesía. Participa en varios salones internacionales entre los que destacan las XII, XIII e XVI Bienales de Sao Paulo, y la muestra especial de la XIX Bienal de Sao Paulo "En Busca de Esencia". En 1974 edita la revista "Semiótica", proyecto del Grupo de Estudios del Lenguaje de Bahía, del cual fue uno de sus creadores. Desde 1975 realiza más de veinte exposiciones en Salvador, Recife, Río de Janeiro, Brasilia y Sao Paulo, y escribe en varias publicaciones especializadas sobre arte y arquitectura. En los años 1981 y 1982 recibe premios del Museo de Arte Moderno de Bahía, en 1986 de Fundarte en el XXXIX Salón de Artes Plásticas de Pernambuco, y en el año 1997 es galardonado con el premio "Copene de Cultura e Arte". En marzo de 2002 su obra es incluida en la exposición "Brazilian Visual Poetry" organizado por el Mexic-Arte Museum de Texas, Estados Unidos, y entre julio y agosto de 2002 se realiza una retrospectiva de su obra en el Museo de Bellas Artes de Río de Janeiro, Brasil. Asimismo, ha editado los siguientes libros de poesía y trabajos visuales: "O Sacrifício do Sentido", "Obscuridades do Riso", "Poemas", "Suor Noturno" y "Arquitetura de Algodão".  
 
 
Notes about Art
Art is a form of knowledge that demands specific reading and contemplation.
Its understanding is not limited to the first glance. Without the necessary information, the research and examination of the language goes unnoticed. The appearance satisfies the untrained eye.
"We can only see that which can be seen" (Merleau-Ponty). What can be perceived in a work of art is that which fits our point of view. Man is inserted in a society, in a language, where he learns to see, think and feel. Language is the device through which he assimilates things, beings, shapes and colors.
Since art can be anything, in the name of contemporary methodology, we often encounter something which is said to be art. What criteria is used?
A work of art contains multiple possibilities of examination. It projects values and anxieties.
For an artist, knowing how to paint isn't enough, neither is acquiring random objects and images. Having references and a method is mandatory. Each artist conceives his art using his own theory, even though it might not be formulated explicitly.
A work of art contains multiple possibilities of examination. We recreate images from our perception, and subjectively modify them according to our life experiences. We project our values and anxieties on them. Works of art are completed in different ways in the imagination of each spectator. It is also used for decoration, adding the curiosity of a poetic shelter to an inhabited location.
In order to speak about art, one must learn the method of observing its production, from the concept to the work of art and form the work of art to the concept.
"Art is perceived as originating from the work, a process that is linked to experience and to thought which sets certain subjective conditions of knowledge into motion. One gets to know an artist through his work, and this work is an invention of the artist's activity." (Heidegger)
It is a local political act. Art has its own materiality. It is not used to support other politics, even those that are supposedly cultural, that ignore questions of language and its transformation. "Throughout the great historical periods, along with the ways of living of human communities, the way one feels and perceives things has changed" (Walter Benjamin). Art takes part in these changes as the political duty of transforming reality within a specific territory of knowledge.
Art is subject to a strange system of power when it comes to culture. No longer seen as a cultural phenomenon, becoming instead an exclusively social and market fact. The problem is not the market (it is necessary and plays an important role in the art circuit), but the importance it has taken upon itself as the main agent of the circuit. It has undoubtedly aided production, yet has caused the retail value to take reflection into a recession.
The intellectual and the critic are disposable where the world of thought is rarely tolerated.
We are facing a moment where the cultural production is more and more difficult without media interference and market interest. If this society's ethic is consumption, everything is governed by market law: health, education, culture, etc.
The intellectual and the critic are disposable in a society where the world of thought is rarely tolerated. On the other had, the sponsors, art entrepreneurs, marketing professionals, curators... are the protagonists of art.
The artist, who was considered to be an unqualified artisan until the 14th century, began to occupy a notable place in the knowledge territory since the Renaissance and, in this new millennium, is considered to be the cultural villain.
What has been happening with plastic arts and culture in general is part of a society's spectacle that sees retaining riches as life's objective. A cultural institution with few resources, left in the hands of sponsors, programming and the political culture.
ALMANDRADE
 
Almandrade (Antonio Luiz M. Andrade)
plastic Artist, architect, master in urban drawing and poet. It participated of some collective samples, between them: Biennial XII, XIII and XVI of São Paulo; "In Search of the Essence" - it shows special of XIX the Biennial one of São Paulo; IV National Hall; Universe of the Soccer (MAM/Rio); National Fair ( S.Paulo); II São Paulo Hall, I Ephemeral International Exposition of Sculpture (Fortaleza); I Bahian Hall; II National Hall; Honrosa mention in the I Estudantil Hall in 1972. It integrated collective of visual, multihalf poems e projects of installations in Brazil and exterior. One of the creators of the Group of Studies of Language of the Bahia that edited the magazine "Semiotics" in 1974. It carried through about twenty individual expositions in Salvador, Recife, Rio De Janeiro, Brasilia and São Paulo between 1975 and 1997; it wrote in some periodicals and magazines specialized on art, architecture and urbanism. Prizes in the competitions of projects for plastic works of art of the Museum of Modern Art of the Bahia, 1981/82. Fundarte prize in XXXIX the Hall of Plastic Arts of Pernambuco in 1986. It edited visual booklets of poetries and/or works: "the Sacrifice of the Direction", "Blacknesses of the Laugh", "Poems", "Nocturnal Sweat" and Architecture of Cotton ". Copene prize of culture and art, 1997.
 


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Almandrade: poeta e artista brasileiro




Date: Sun, 30 Dec 2007 14:31:56 -0200
From: virtualidades.news@ibest.com.br
To: intrude366proposals@gmail.com; bonicamennett@gmail.com; performancelogia@gmail.com; citizenandneighbor@gmail.com; colectivochocolatero@gmail.com; lauren.bender@gmail.com; galataperform@gmail.com; fast_dada-ning@yahoo.es; davidbchirot@hotmail.com
Subject: Fwd: Almandrade: poeta e artista brasileiro




Almandrade:

"El Poeta Vive en una Cantera de Obras".

Por Miguel Moreno D.

 

El nombre Almandrade - en realidad el artista se llama Antonio Luiz M. Andrade - está asociado a una singular estrategia dentro de lo que se llama arte contemporáneo. El artista plástico, poeta y arquitecto ha producido una obra que se encamina hacia una estética minimalista, hacia una poética que se expresa utilizando un vocabulario mínimo, ya sea pictórico o lingüístico.

 

Almandrade es uno de los principales nombres de la poesía visual de Brasil de los años 70.


Según Nicolás Bernard, la ciudad de Bahía, en Brasil,  tiene sus supersticiones y sus sorpresas culturales, entre ellas Joao Gilberto, Dorival Caymmi  y Glauber Rocha y por qué no, se pregunta, Almandrade. En definitiva, un artista que viene sorprendiendo desde hace treinta años con el rigor, la sutileza y la coherencia de trabajar con distintos soportes seguido por una tradición de un saber singular.

 

Ver em Português.

 

El poeta es el  cuidador de la memoria.   Usted ha dicho  que existe una forma de saber perdida o despreciada que el poeta se encarga de recuperar.  ¿Cómo ve la salud de la poesía en Brasil?

 

Parece que la poesía a vuelto a ser parte de la ciudad estos últimos años en Brasil. Tardes, recitales, debates, publicaciones, se van expandiendo y ocupando pequeños espacios en los centros urbanos, barras, cafés, bibliotecas. Páginas en Internet. Pero ¿una ilustración de la crisis de la lengua, del  pensamiento y de la ciudadanía?  A fin de cuentas, la poesía pasó a ser todo lo que alguien escribe movido  por una "inspiración", una rebelión, una pasión, un discurso libre y aleatorio, como: la frase de la mesa del bar, el billete de la novia, el discurso de protesta, etc. El poeta que ya se fue de la ciudad, vuelve al escenario urbano en la condición de síntoma de la gran ciudad. En un tiempo caracterizado por la desaparición de lo duradero, la rápida transmutación de los valores, sin tradición poética, la poesía vuelve como un lugar de experiencias contradictorias, para atender una necesidad de ocio y una diversión, incluida una voluntad de saber.

 

¿Cuál es su relación con la obra del grupo de trabajo compuesto por Haroldo de Campos, Décio Pignatari y Augusto de Campos?

 

Pertenezco a una generación que apareció en los años 70, al final de las vanguardias.  El contacto con la poesía concreta, el poema proceso fue fundamental para el desarrollo de mi trabajo no solamente poético sino también visual. Realicé innumerables poemas visuales. Me convertí en amigo de Décio Pignatari que escribió un texto sobre mis pinturas y mis objetos.



 

La poesía concreta es un movimiento fuerte y de gran impacto latinoamericano y mundial , ¿Existen hoy otras corrientes literarias en Brasil de la importancia de este movimiento? ¿Qué hay con las nuevas generaciones?

 

La poesía concreta es producto de un momento histórico de Brasil. Formó parte de nuestro primeras manifestaciones definitivamente modernas. No hay otro movimiento ni es más posible, como ya no es  posible una vanguardia.  Existen los poetas independientes de los movimientos.

 

¿Es más importante el significante (el signo de la palabra como tal) que el significado?  

 

En la poesía el significante no es más importante que el significado. Sucede que la poesía es un hacer sobre el lenguaje, una experiencia con este. En la poesía visual hay un enfoque de las artes gráficas y un alejamiento de la literatura, a mi entender, la forma (el significante) pasó a ser la esencia de la poesía.


 

¿Hasta qué punto el uso del lenguaje llevado al minimalismo, a la expresión de la forma o del signo, es un vehículo de comunicación eficaz   para la gente? ¿o es privilegio del grupo de intelectuales?

 

La función del arte no es ser un vehículo comunicación, aunque también funcione como tal. El arte es una forma de intervención, de provocación con el lenguaje. Para Cézanne, un cuadro no representa nada. Es eso que percibimos, su sentido no es aquello que se transforma en idea, en palabra; es lo que es antes de ser encuadrado en cualquier tema o teoría. Es algo que toca en determinado punto la sensibilidad del observador. Sólo se  tiene acceso al arte a partir de la propia obra, a través de un contacto directo con ella, un proceso vinculado a la experiencia y al pensamiento. Mirar una obra de arte es adquirir una sabiduría y un estilo de ver.

 

Según su opinión ¿Para qué sirve la poesía?

 

La poesía es una forma de relación del hombre con el mundo, diferente de la ciencia y de la filosofía. La poesía es un conocimiento alejado de la razón tecnócrata que regula a la sociedad contemporánea, hoy día, el hombre se enfrenta con otros tipos de lenguajes, otros conocimientos, que dejó de lado el hábito de la lectura, principalmente la lectura de poesías. Delante de la informática, de la música popular, del discurso político, no hay lugar para la poesía (lamentable).

 

¿Con que artistas chilenos siente usted algún nivel de cercanía por sus obras?

 

Conozco muy poco de los artistas chilenos. Estamos aislados aquí en América Latina. Tengo interés en conocer más sobre el arte chileno. He tomado más conocimiento por Internet.

 

Tiene tribuna abierta para decir lo que desee.

El poeta vive en una cantera de obras. La musa, el acaso, la razón, el sentimiento, los pensamientos abstractos son materias primas para su poesía. Él produce a partir de la lectura de textos ajenos, articulando ideas y cosiendo el lenguaje. La poesía es un trabajo que exige de quien hace una cantidad de reflexiones, de decisiones, de elecciones y combinaciones. Las lecturas y las experiencias modifican la escritura, las palabras no son completamente espontáneas, como en las pinturas de un Pollock , hay un trabajo y un cálculo de la escritura. El lenguaje  poético difiere del que utilizamos para la comunicación diaria. Cada poeta lo explora en la búsqueda de un acontecimiento inesperado, de una experiencia singular. La lengua cotidiana desaparece al ser vivida, es substituida por un sentido. La poesía no, se hace expresamente para renacer de sus cenizas y venir a ser indefinidamente lo que acabó de ser.

 

 

Algunos Poemas de Almandrade.

 

Escenario abstracto
De la nada y de las cosas
El cuadro es la geometría
Donde la realidad
troca de lugar,
Cambia de encuadramiento.
En el cálculo de los colores
La visibilidad
No niega
El orden de lo imaginario.

 

 

HM

 

 

 



El recorrido de los siglos

expela arrugas
en la geografía de la piel
y atrae el silencio
de las notas musicales
los que van a nacer
no van a experimentar
el futuro
van a rendirse
al presente.

 

 

SEIOS

 

 

 

La profesora sale de la clase
vuela en la imaginación
con las alas
coloridas
de una mariposa
un cuerpo en la transparencia
de lo erótico
un saber en el habla
una arquitectura femenina
como la lluvia
moja el antojo
pero el agua

              fría
escurre apresurada
       huye
por laberintos indecisos
para bien distante.

          

 

 

VOZ

 

 

 

              

Un nombre en blanco
revela más de cerca
el lugar,
vacía el drama,
adormece la palabra.
Recuerdo congelado
en la piel.
Ventanas entreabiertas,
pero la luz no entra.

 

 

Links a sitios con artículos sobre Almandrade y su obra.

 

www.expoart.com.br/almandrade

http://www.imperios.com/monse/escultor/almandrade/almandrade.

http://www.palavreiros.hpg.ig.com.br/criticaliteraria_entrevistacomalmandrade.htm

http://www.sobresites.com/poesia/poeta/almandrade.htm

http://www.livrariasoletrando.com.br/Arsclara/Artecontemporanea/artecont-p.htm

www.provadoartista.com.br/almandrade.html

 

 



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Friday, December 28, 2007

Before "Curveball": Baseball, Espionage, Fire and A-Bombing & Poetry


From Hidden in Plain Sight/Site/Cite: The Unrecognized and Unwritten History of the New Extreme American Poetry

“A Poetry of Baseball, Espionage, Fire and A-Bombing: Moe Berg, Jack Spicer, Yasusada Araki”




One of the more truly strange and fascinating figures in the annals of
spydom, polylinguistics, newspaper and book addictions, friend of the
rich and famous, scientists, writers and social lights, is the
professional baseball player Moe Berg, of whom two adult bios and one
juvenile readers' accounts have been penned. (ESPN also made a good
video bio.)


Since he was a lifetime catcher, (after an early-in-career injury,
soley used as a backup, often third string; weak hitter, very good
defense), Berg may be thought of as one part of Jack Spicer's battery
of pitcher and catcher.

As a member of a team of mainly All Star players sent to Japan in 1934
(he'd also gone in '33), Berg, while the team played in another city,
took a tour of Tokyo during which he ascended to the top of building
and took movie camera footage of the harbor and important buildings of
the capital city. These later proved to be his entree into the early
days of the OSS, culminating in a mission to attend a war time lecture
by Heisenberg in Switzerland and bring back a report of it, to see if
any evidence of any work on a Nazi A-bomb.

Berg was a bizarre character who grew progressively stranger and more
deliberately "mysterious" in later life, letting it be thought that he
was still an agent, while actually having been let go after the OSS
began to turn into the CIA.

Due to his obsessive reading of newspapers--which he would not not let
anyone else touch until he had read them, as until then they were
"alive"--and his wide reading in obscure topics, Berg became famous in
the mid 1930's as a guest on "Information Please" Quiz Shows on the
radio. The weird combination of a baseball player with the knowledge
of a "professor" made him a huge favorite. To the end of his life he
was able to live off of friends and in their homes due to his early
celebrity and "connections" across many strati of society.

Berg always let it be known that he studied and mastered many
languages--though it is unclear how much he really knew or could
speak. He was able to create a myth about himself which gave him a
freedom from a life of much work (many years of his career he played
in very games), and at the same a dependence on others, opening and
closing many strange doors during his life.

The reason for writing of him in connection with poets and foreign
service is that Berg was able to exist in seemingly disparate worlds
by the continual manipulation of his self-created image of a man who
was very good with words--the vast vocabulary of the memorizer of
mountains of information, from the most trivial, obscure and dull to
the most significant, useful, and interesting. Adding to this his
self-created aura of a quick-study learner of a great number of
languages 'dead' and living, Berg was able to wow others impressed by
words, from sports writers and PR radio people to professional
lecturers, "experts," and his bosses in the OSS. These in turn
promoted him--basically Berg became a man who lived by his wits via
the creation of a persona who existed only in language. His
biographers note that as the years went by, the chasm between his
outward persona, with its vast vocabularies, and his inner
"emptiness" as an actual person, grew ever wider. The illusions he
performed became ever harder to sustain, and the limits of his actual
world smaller and smaller.

Via the ambiguities of his actual knowledge of languages and
vocabularies, roots and grammars, long before he became a
professional spy, Berg had created such a niche for himself. When he
skipped a ball game to take candestine films, he was in a sense
"projecting himself" via these images into his future role as a
surveillance-being, a hired listener and reader, a hired "catcher" of
(stolen) signs from the "pitcher" of the opposing team.

A graduate of Princeton, the third string catcher and radio star, the
ambiguous newspaper addict and obscure book collector Mr Berg became
involved in the A-bomb saga begun by one of Princeton's
most famed future Professors, Albert Einstein.

And at the heart of all these events is the activity of words employed
in both a "foreign service" and in the service of the creation of a
persona who existed sporadically in the "Objectivist" poetry of
baseball box sores and much more "under cover" and shadowily,
rhizomatically, among the "Curveballs" of languages, words, signs, and
in the "stolen signs" and "moving pictures" creating
interconnections between baseball diamonds and the fissioning of
atomic particles linking the USA and Japan.

(Working to see if the Germans had the makings of a Bomb, Berg all
along carried within him the cinematic and linguistic seeds of the
Bomb's ultimate destinations in Hiroshima, Nagasaki.)

In a strange way indeed, Moe Berg is actually a "deep cover" player in
the baseball/Hiroshima poetry connections found within Jack Spicer's
work, and made fully explicit by that would-be author of an "After
Spicer" work, Araki Yasasuda, in the poem "Horsehide and Sunspot, 17
July 1968--Hiroshima Municipal Stadium."

From the baseball diamond of Princeton where Einstein later teaches,
via a clandestine film made while playing hookey from a ball game, to
the Candlestick Park of the pitchers and catchers of Spicer's radio
broadcast games, to the fictional poet attending a game in Hiroshima
Stadium, one finds the famously flat-footed radio star, spy and
catcher, language-obsessed, walking through the 20th century's atomic
Holocaust of fissioning, fusioning, fall out particles of atoms and
poetry, box scores, coded messages, screaming headlines, obscure and
trivial '"faits divers" and a landscape of writing in which the
"writing on the wall" is the physically embedded shadow of the last
living instant of a human being.

From a moving picture image to a shadow fixed in concrete by the light
flash of a never before seen sun . . .

Baseball games seen by the eyes of a participant/ bench warming
player, heard on the radio by a poet of Outside, observed by a
fictional poet created by a pseudonymous "late" writer . . .

a trajectory of reading and writing moves through identities real,
imagined, covert, pseudonymous, dead, ghostly, Outside . . . writers
and readers that are themselves fissions, fusions, recorded images
and voices, receivers and transmitters of the ghostly, the Outside,
the dead, the living-dead, the imagined, the hallucinated, the
Shocked, the voluntarily or not covert . . . among forgeries and
doublespeak--propaganda and prayers--

a trajectory of energy, mass and light speeding towo/ards a shadow
embedded in concrete--

not a "writing ON the wall"--but a writing IN the wall--

a concrete shadow in three dimensions of a light eclipsing the sun in
broad daylight--

(in its --or "under cover" of its--darkness are all the words ever
written so intermingled they have become --unreadable--or are they now
being transmitted in an other way from this cipher of/at the edge, the
"last instant"--what sounds come forth from the depths within the
wall--or have they all become at once "concrete" and "shadow"- . . . )

(Both the bios for adults of Moe Berg are very good, the other i have
yet to read. Moe Berg is also the only person one may find having
bios at such sites as Famous Jewish-Americans, the CIA website and
many baseball sites and some other espionage ones.

Cathers often later in life become radio announcers and managers. The
only one who is a kind of relative of Moe Beg is Bob Uecker, the Hall
of Fame broadcaster for the Milwaukee Brewers, also a star of the
Johnny Carson Show and the tv sit com Mr. Belvedere. Like Berg,
Uecker was a famously mediocre hitter--he had a "perfect" . 200
average--the only itcher he could hit was, inexplicably, Sandy
Koufax-- --and also very good defesively. He, unlike Berg, was able
to use his gift with words as a stand up comedian and a writer--his
Carcher in the Wry is a fun read.

That Girl Suicide--Brian Jonestown Massacre

The Brian Jonestown Massacre - Hide and Seek (live)

Nevertheless by The Brian Jonestown Massacre

Brian Jonestown Massacre-When Jokers Attack

The Brian Jonestown Massacre - Going To Hell

Brian Jonestown Massacre

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who's fucking pissed in my well--Brian Jonestown Maacre

transcendental blues - steve earle

Wednesday, December 26, 2007

Merry CHRISTMAS and 2050 fro, Art Secret



> Date: Wed, 26 Dec 2007 08:48:10 +0100
> Subject: Merry CHRISTMAS and 2050
> From: artsecret@libero.it
> To:
>
> BEST WISHES
> Merry CHRISTMAS and Happy New Year 2008..... the Artists
>
> Secret Art Project
> ... That will be made public in the year 2050 (twentyfifty)
>
> The Art can not be simply decorative or descriptive,
> must innovate, enlightened and propose ideas and give solutions
> to the problems afflicting our planet
>
>
>
> ...gli artisti augurano buon Natale e felice anno 2008
>
> Progetto Arte Segreta
> ... che verrà resa pubblica nell'anno 2050
>
> L'arte non può essere semplicemente decorativa o descrittiva.
> L'arte deve innovare, illuminare, proporre idee,
> dare soluzioni ai problemi che affliggono il pianeta
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>


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Tuesday, December 25, 2007

Happy new year from a mailartist





From: denis.charmot@wanadoo.fr
To: davidbchirot@hotmail.com
Subject: Happy new year from a mailartist
Date: Tue, 25 Dec 2007 23:27:00 +0100

Hi
I hope that you pass a good christmas and i wish you a happy new year 2008.
Denis Charmot
 
Nous n' héritons pas de la terre de nos parents, nous l' empruntons à nos enfants.
Léopold Sédar Senghor
http://perso.orange.fr/charmot.art
http://denis.charmot.free.fr


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JVP News Roundup: No Holiday In Gaza






More articles of interest

JVP News Roundup, December 23, 2007

Click here for printer-friendly version

Tell us what you think! Click here to send feedback to JVP!

The news around Israel and Palestine has been relatively quiet of late. In the aftermath of Annapolis, little has changed, and, if one scans the mainstream media, one might think that little is really happening since the conference. But in the Gaza Strip, much has been changing as the suffering there is intensifying. Yet we hear very little about it.

While Israel has been openly speaking of and planning a large-scale invasion of Gaza for months now, the current thinking in the government and the military is leaning toward avoiding such a step. Unfortunately, this sounds a lot better than it is. Instead of invading Gaza, Israel is stepping up its military incursions and air strikes in the Strip. The reason given for this is the ongoing mortar and missile fire coming from Gaza at Israeli towns nearby. Indeed, the residents of Sderot, a working-class town near Gaza, have been witness to constant rocket fire. The obvious fact that Israeli incursions and attacks in Gaza have been going on all this time and the fire at Sderot continues would seem, however, to contradict the Israeli government's statements that their attacks on Gaza are aimed at preventing the rocket and mortar fire across the border.

While Hamas Prime Minister in Gaza, Ismail Haniyeh, has discussed the possibility of a truce with Israel , the fighting is not only continuing but gradually growing in intensity. Though reports conflict over whether or not Hamas is really prepared to offer a truce, Israel's Prime Minister, Ehud Olmert has already ruled out any possibility of such an arrangement despite the fact that former Defense Minister and IDF Chief of Staff Shaul Mofaz and former head of Israeli intelligence Ami Ayalon have both said that Israel should consider the matter.

Meanwhile, the situation in Gaza goes from bad to worse. Health care services are scant due to lack of medical supplies coupled with food shortages and reduced fuel supplies from Israel on which Gaza depends. People talk about Gaza being on the "brink of economic collapse," but one has to wonder at what point an economy is considered to have collapsed if not at the point where 80% of its population depends on international food aid, which itself has been sharply reduced. Indeed, it is probably time to stop worrying about when Gaza's economy will collapse and acknowledge that it already has.

The shortage of medical supplies only increases the need for seriously ill or injured people to be able to leave Gaza in order to get treatment, whether in Israel, Egypt or the West Bank. But, as Physicians for Human Rights-Israel reports, new bureaucratic restrictions, which are layered on top of the already cumbersome and arbitrary system at crossing checkpoints out of Gaza, are making it extremely difficult even for patients in emergency need to get to the medical care they need.  more reprehensibly, PHR accuses the Israeli intelligence service, SHABAK, of forcing some patients to inform on others in order to obtain passage.

The issue of medical care is only the tip of the iceberg. The UN Office for the Coordination of Humanitarian Affairs (UN-OCHA) reports the following results of the siege Gaza has been under since Hamas' takeover of the Strip in June:

  • More Gazans than ever need food and direct assistance
  • Fuel shortages have threatened essential services and water supply
  • Life-saving treatments are not available in Gaza's hospitals
  • 17 per cent of patients with referrals were refused exit for treatment in Israel, East Jerusalem or overseas
  • The on-going isolation of Gaza threatens the local economy
  • Baby milk, medicines, and cooking oil are increasingly scarce
  • Hundreds of businesses have gone bankrupt due to ban on imports/exports
  • Thousands of labourers have lost their jobs due to the collapse of the building industry
  • Building projects worth US$370 million are on hold indefinitely


Gaza at its best is not blessed with many resources and would have a hard time building a thriving economy even in favorable conditions. Under the current circumstances, there is absolutely nothing that can be done, by Hamas or by any other group in Gaza, to sustain its populace. Large-scale programs to generate revenue, such as an offshore natural gas project, are stymied by Israeli resistance.  The UN-OCHA report shows that exports from Gaza have dropped to essentially zero since June.

Food shortages are epidemic. The World Food Program "...estimates that only approximately 41 per cent of humanitarian and commercial food import needs were met between 1 October and 4 November 2007. Basic items including wheat grain, vegetable oil, dairy products and baby milk are in extremely short supply." 80% of Gazans now receive food aid, compared to 63% in 2006. Two-thirds of Gazans live in "deep poverty," defined as living on $474 USD or less per month.

Water pumps that serve half the population lie in disrepair due to lack of parts. Of 3,900 industrial establishments in Gaza, 3,500 have shut down due to lack of raw materials, complicated now by lack of funds and reduced power supplies. Of 32,000 workers employed in this sector, only 3,000 (9%) remain employed. The construction and agricultural sectors have experienced similar devastation. The public sector, which employs some 40% of Gaza's workers, is the only sector that is still functioning and, while some payment of salaries resumed with the freeing of some public funds, payments remain sporadic and those gathering salaries have greatly increased burdens due to the enormous unemployment affecting their families.

Imports which numbered some 12,000 truckloads per month in May, 2005, are now down under 2,000 per month, consisting mostly of aid supplies. Exports are virtually eliminated. Human traffic in and out of Gaza has been severely curtailed, cutting off more sources for work for Palestinians who had worked in the West Bank, Egypt and even in some cases, Israel. UN-OCHA describes it thus: "Severe restrictions on the movement of people into and out of the Gaza Strip have also been imposed. Palestinians have not been allowed to leave Gaza since mid-June 2007 except for traders, aid workers, a restricted number of pilgrims and a limited number of medical cases. On 2 December the GoI began to permit to some of the 6,000 Palestinians with the necessary foreign residency, or papers to study or work abroad to exit Gaza through Kerem Shalom - the first time that crossing has been used for the passage of people. As of 11 December, 920 persons have crossed through Kerem Shalom, out which 198 were refused entry to Egypt and were sent back to Gaza."

This is a non-functional economy in any sense of the word. Mass starvation is only barely being staved off with the meager aid supplies being allowed in to Gaza. As the Red Cross, which usually does not make such statements, said, Gazans are being given "enough to survive, but not enough to live." The World Food Program also said that "...62 percent of household spending went on food, putting Gaza's non-refugee population on par with Somalia. That compares to 37 percent in a 2004 survey."

Relief does not seem to be forthcoming, as Gaza's 1.4 million residents are being held hostage to collective punishment in the political battles between Hamas and Fatah and between Hamas and Israel. That other countries, such as Egypt and Saudi Arabia, also wish to see Hamas fall means that Gazans are left with little hope for support. The recent donor conference for the Palestinian Authority saw some $7.4 billion pledged to the PA, but Gaza is not likely to see much of that money because of the antipathy toward Hamas. Empty words from UN Secretary General Ban Ki-moon are not going to help either.

Resolving the situation in Gaza is a complicated matter. Gazan society and internal politics, with their mix of clashing ideologies between Hamas, Fatah and other parties and the maneuverings between government, international and local NGOs and, perhaps most importantly, clan and family alliances (some of which have their own private militias and which form part of the backbone of Palestinian society) is not a simple arena. But what must be made clear is that the current situation is intolerable. Israel has legitimate security concerns, but such cannot justify collective punishment and the starving of nearly a million and a half people. That situation must be brought to an end immediately while other means must be found to reconcile the Palestinian factions and to find some at least temporary accommodation between Hamas and Israel.

Israel's siege and attacks on Gaza are not providing security to Sderot and Ashkelon. Hamas' attacks on Israeli towns only harm the Palestinian cause. Residents of Israeli towns near Gaza are frightened, and the people of Gaza are slowly starving to death. The current situation is the worst of all worlds. It only strengthens the resolve of the military leaders of both Israel and Hamas as it gives neither side a graceful option. International intervention, with the immediate goal of relieving the suffering in Gaza and rebuilding the Gazan economy must take immediate precedence, even above the other aspects of the Israeli-Palestinian conflict. Otherwise, this miserable Christmas in Gaza will only be followed by even more horrifying ones.




















 

First we'll take Ajami

Collision course

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'Things are far worse in Algeria'

Ashamed of American Christian abandonment of their faith

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ADL: "a false veneer of moral authority"

New poll: Jewish neocons don't represent Jews. Duh.

Israel's Broadcasting Authority muzzles ad that supports peace negotiations

Back in Israel, adopting American-style blacklisting



Monday, December 24, 2007

Bethlehem checkpoint, 4am

They Cancelled Christmas in Bethlehem (music video)

Greetings--

david chirot thinks this will be of interest to you:

They Cancelled Christmas in Bethlehem

http://sabbah.biz/mt/archives/2007/12/24/they-cancelled-christmas-in-bethlehem/

Enjoy.

--
http://sabbah.biz/mt


Thank yoou to Sabbah at Sabbah's Blog for this

Rachel Defay-Liautard (avec les chats de chirot)