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.

Tuesday, September 11, 2007

Grand Piano updates: "Parole in Liberace" Linked by Grand Pianists Watten & Silliman

Chirot, David Baptiste. "Parole in Liberace: The Grand Piano & Its
Accessories-Necessaries Considered from a Fluxus Street Theater
Persepective." Site—Sight—Cite ******* Visual—Sonic—Visceral Poetries.
(25 July 2007).

Grand Piano updates

Barrett Watten <b.watten@wayne.edu>
UB Poetics discussion group <POETICS@listserv.buffalo.edu>
to POETICS@listserv.buffalo.edu
date Sep 9, 2007 9:11 AM
subject Grand Piano updates
mailed-by listserv.buffalo.edu
Note on the publication schedule of The Grand Piano, part 4: due to a
printing error, the volume has been recalled and will reship in late
September. We apologize to our readers and subscribers. Stay tuned for more.

Also, there is now as complete a list as possible of reviews and comments
on the project at:

http://www.english.wayne.edu/fac%5Fpages/ewatten/posts/post34.html#links

as well as an archive-in-process at our website:

http://www.thegrandpiano.org

Barrett Watten


"Taking the Grand Piano Literally"
September 8, 2007
Blog: Silliman's Blog
Link: http://ronsilliman.blogspot.com/2007/09/history-of-lighght-taking-grand-piano.html

--

A Letter to Ron Silliman from Il Maestro G.A. Vidiamodopo re "Grand
Piano de Parole in Liberace"

from David Chirot <david.chirot@gmail.com>
to
UB Poetics discussion group <poetics@listserv.buffalo.edu>,
silliman@gmail.com
date Sep 8, 2007 2:50 PM
subject A Letter to Ron Silliman from Il Maestro G.A.
Vidiamodopo re
"Grand Piano de Parole in Liberace"
mailed-by gmail.com


A friend notified me today that at the Blog of Silliman is a
featured link to the analysis of "The Grand Piano de Parole in
Liberace" in a presentation of Il Maestro G. A. Vidiamodopo.
http://davidbaptistechirot.blogspot.com/2007/07/its-accessories-necessaries-considered.html

As a colleague of Il Maestro in Eternal network of Fluxus Street
Theater d' Il Maestro G. Maciunas I duly passed along the news to
Maestro Vidiamadopo, who in turn sent to me a reply, concerning a
perhaps misreading of his analysis of the "Corrective" Collective
Autobiography as Il Maestro amuses himself by referring to it in the
here and there moments in which he does.
Here the relevant part of the letter to me which Il Maestro
would like me to share with you, esteemed Colleagues, Brothers and
Sisters in the Anarekeyological Actions of Eternal Heraclitean Flux.

"Estimado, El Colonel de Securidad Nacional, Sector
"Languagismo" R. Silliman :

Thank you for the honor bestowed of the selection of my
humble paper for the readership of your often cited Blog, home I hear
to the formation of opinion and shaping of taste with in the
august parlance of baseball fans such as myself, "Friendly Confines"
of the storied laurel vine covered Walls of the stadium of the Grand
Piano of the Collective of the Corrective Autobiography.
It is with many happinesses I find myself among such an
assemblage of the luminaries, eminences grises and laureati of the
laurels of the Lyric Art.
I need however to call attention to one shortcoming in the
formulation of the indication of the existence of my examination of
the Grand Piano di Parole in Liberace.
This is the use of the words "A Literal Interpretation of the
Grand Piano" which must be touched cyber-style to be linked to my
presentation.
Perhaps you have knowledge in the form of the reading of his
works of the poet Jean-Nicholas Arthur Rimbaud? Whether yes or not,
this poet well beloved to the hearts of millions across the spheres of
Poesia, this poet in regards to a question as to the meanings of his
works famously replied:

"They mean what they say, literally and in every sense."

Therefore, rather than confining the illustrious readership
of the blog to the very
narrow "literal" reading which alone could produce the sense that my
piece is a "literal interpretation" alone--the repeition of this word
is in order to underline my need to overcome its loneliness--I want to
point out that my interpretion is like that propounded by the
well-beloved Rimbaud.
In other word, my interpretation is "literal AND IN EVERY SENSE."
That is, it is to be understood in a far more vast "realms
of the senses," to play on the title of a film by the Maestro Oshima.
The examination is in each and every word opening into ever
more areas of the senses in all their senses.
I hope that via these senses the deeper sense of my words may
begin to "make sense" to the readers and yourself of the simultaneous
"amplifying" and "chiseling" of my critique which in its employ of
these methods of the Isouian conception of Lettriste literary
historical periodicity is essaying a far more complex and wide ranging
presentation than that kept narrowly confined within the heretofore
alluded to "Friendly Confines" of a method which can see only that
which is of its own necessity limited to define as a "literal"
"interpretation." that which in fact is not so narrowly confined at
all.
To use a street inflection from the repertoire of the
milieu of the Fluxus Street Theater, El Colonel, in my work I "don't
play that," that being the "literal," for as noted, I am dealing in
the full throated and bodied Rimbaldien expression of the "Literal &
In Every Sense" according to the "long reasoned derangement of the
senses" for in the end to "reach the Unknown."
For its from this Unknown that the positions of the known
may be examined in the methods and manner which I have employed and so
have indeed reached from this Unknown an understanding of the known
which I have presented in my generous assesment of the Grand Piano di
Parole Liberace's achievement, which perhaps you may have missed in a
misreading of my examination as existing solely within the "Freindly
Confines" of your own "literal" reading of that which is not confined
to the literal alone.
Here is the simple conclusion which was reached by the
employment of my methodology, drawing on the teachings and examples of
a great many brilliant predeccessors and colleagues of the present
moment:

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.

Here it is shown that even with the most "literal" readings from
within the "Freindly Confines" that the "interpretation" is not at all
limited to the "literal" but indeed has been embracing of the "LiTERAL
AND IN EVERY SENSE" and does indeed present a commentary-conclusion
reached by this widely-arrayed Anarkeyological examinition of the
presented materials.

In Parole Seimpre in Liberace,
G. A. Vidiamodopo

Thanking you again for the great honor to be included among the
highlighted links to the various galaxies constellated in your
assemblage for this day.

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