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.

Wednesday, July 25, 2007

Parole in Liberace: the "Grand Piano" & its accessories-necessaries considered from a Fluxus Street Theater Persepective

The cultural contexts among which any "new" work appears are of great importance for the reception of the work in its own time and in the times following --
In the case of the "Grand Piano", today's cultural construct under review-examination by Dr. Giulio Agosto di Vidiamodopo, our esteemed colleague in theory-critique and a Grand Pianist himself, one must be aware of the full range of the cultural-material and linguistic-formulated manifestations of the discourses across and transgressing the normative and constrictive bounds
which extend from the classifications of the categories of

mass marketed miniaturization



to the full-blown hyper-magnitudes of spectacularized and globalized environments within which is situated the cultural-material-linguistic production work of the soap-opera influenced currently running ten episodes of the "Grand Piano"'s "collective autobiography", which in turn is running on the tracks laid down originally by the Fondatore, who has given us the eternally generative legacy of his never-to-exhausted "Grand Song of the Open Piano" under the sign of his immortal


"PAROLE IN LIBERACE"--

echoes of which one may find in the "Grand Piano" which by its very title acknowledges the inspiring and influential ceaselessly experimenting presence of the Master among its notations, its tentative, "experimental" scores . . .

and now allow me to turn over the podium to our illustrious and well-beloved colleague, Il Maestro, Giulio Agosto di Vidiamodopo---




Good Evening, Friends, Colleagues, Esteemed Patrons and Lovers of Il Piano Grande di Parole en Liberace:


In the Eternal Network spirit of the Grand Pianist of Fluxus Street Theater El Maestro G. Maciunas, a review-examination of the material elements & accessories-neccessaries which comprise the "laying bared mechanism of the mis-en-scene" of the currently running production of the currently playing "Grand Piano"--.
(if you will forgive me a rather feeble play on words--)

First, for purposes of identification of the authors, those who are presumed to know and write:



Which ten of these Statues are those most paratactically reminiscent of the Statues of the Grand Pianists playing in the Grand Piano?

(Or is this simply a "read herring" of a Fauxk Art piece inserted at the last moment in the otherwise austere and solemn design of the playbill . . . a Fluxus Prank--or indeed a serious question?)


To lay bare the autobiographical "slice of life" mechanisms of the mis-en-scene of the "Grand Pianist" is indeed to reveal the "Art of Living" . . .



a simple, clean design is best for the emphasis on the solemnity and sublimity of the occaision of the production of the Grand Piano . . .


Here w have a breath-taking example from Part Three

an example of the purity of form from Part Two




and from Part One: Let the Tunes begin! in a most appropriate setting . . .

For the material production of a cultural work of this order of magnitude, it is imperative that there be attendant what some may esteem luxuries yet which will i chose to designate as "accessory-necessaries" . . .

Here please note the very high quality custom hardwood floor and the Grand Piano Stool design at once "classical" and "contemporary-jazz" for the Grand Pianists--combining comfort and medically approved back support for the postures required for the playing of the Grand Piano--




of course, it is a well known convention of the traditional and avant-garde both that all mise-en-scenes require a backdrop complete with "Fake Books"--
Nor to mention not to neglect the Grand Pianists of the Bright Tomorrows!--



From time to time even the Grandest of Grand Pianists may have need of an example of Time's Template--for their Art of Time as Grand Pianists-autobiographers--





"Cleanliness is next to Godliness"--one must not forget to keep the mechanisms free of dust, enemy of "purity" and archives--


Tasteful tapestries grace the scented studio of the "Grand Piano", inspiring the aspiring--with the Aspiration of Inspiration while contemplating this mandala image, encapsulation of wisdom and rich with sonic suggestions, fertile with phonemes --



In themselves objets d'art, these are the lovely and sturdy non-sliding foundations of the Grand Piano and the Protectors of its self-reflecting high gloss rare teak hardwood floors--
in which the "Grand Piano" is to be found--gazing at itself gazing back at itself--a veritable Narcissus--
who must be alerted before disappearing into his own self-adoring reflection and reminded that "the show must go on"--



Again, I cannot iterate, nor reiterate, too often--cleanliness, polish--the hallmarks of Grand Piano appearance and performance--Purity of demeanor and display--



These imperatives bringing into being this further ingenious accessory-necessary for the Preservation-from-Dust--
the Grand Piano after all is not Duchamp's Large Glass, landing area of dust and grime--



Here, o colleagues, a suitable pedestal for the holding aloft of the Libretto-Score--

and mighty super-tensile dollies for safe transport of the Grand Piano back and forth from Public Stage to the intimacies of the Privacy of Backstage--



Only the most sophisticated of mics are used for the most "pure" sound possible--
you too, will be uttering the classic phrase--is it Real--or Memorex--
or the more au courant--I can't believe it's not butter--



Only the finest cabinets are used in the preservation of the documents, archives, recordings and files of the Grand Piano--

for in preservation in its purest state lies posterity in state--

in archival preservation lies the Grand Piano salvation of the materialist word--

In sum, my friends and colleagues, by surveying in a review-examination the cultural-materialist construction for the presentation and maintenance of the "Grand Piano", one has developed an awareness of the targeted directions of its discourses, its performative aspects, as well as its "in-dwellings" as it were.

I think it is safe to say--for in my position I must take into consideration above all your security--I think it is safe to say that the object here considered for review-examination is one easily commanding entry into the data-zones of citation, bibliography and notes, while also sure to generate further examinations of its modifications of previously existing versions of the already existing files under which this particular "Grand Piano" has already been filed many times over. I find it safe to presume that its revisionings and revisionisms of extant files will
be of at least a minor interest to those engaged in the minutiae of this particular trope of a narrowly conceived discursive presentation.

Meanwhile may i note that the well known "changing of the guard" in the costume displays of the Museum of the Parole in Liberace is taking place this week.
I have proposed an homage to Il Fondatore in the Eternal Network Spirit of Il Maestro Maciunas, in which acts of destruction will be applied to the material-cultural objects on display for a period of no less than five and no more then eight minutes, giving myself and whoever wishes to participate with me time to exit via the piano wire rigged Flying Costumes of the Fondatore, allowing us to soar majestically above the confused multitudes and assembled guardians of security, and so attain a union with that Nirvana to be glimpsed in the rhinestone studded mirrored ceiling . . . wherein are reflected unto infinity the images of Il Fondatore, set to his own recorded performances--and among which we may glimpse if but momentarily that which exists in the very core of the Eternal Flux, of the Parole Siempre in Liberace.

Ci vidiamo dopo--(Nota Bene: the professor's name Vidiamodopo means "see you later"

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