Injustice Continues: Leonard Peltier Again Denied Parole
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
Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
Cost of War in Iraq
Cost of War in Afghanistan
The cost in your community
flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture
flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO
VISUAL POETRY/MAIL ART CALL 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
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
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.
Saturday, July 21, 2007
Thursday, July 19, 2007
FW: "Laboratory for a Fortressed World" Article in relation with the "Walls" Works and Themes ongoing
"To Touch the Line
and make it sing"
To touch the Walls-- . . .
"The Accident of Art"
may be a "wreck"
of the 360 degrees
The Gaze of Surveillance
finds its own Face--
looking back at it--
cracks appearing in the Mirror of Death
Screaming Walls . . .
"The Laboratory for a Fortressed World"
the production proto-model already in place of the international architecture of the future?--
Date: Thu, 19 Jul 2007 10:36:55 -0700
Subject: Re: "Laboratory for a Fortressed World" in relation with the "Walls" Works and Themes ongoingOn 7/19/07, David Chirot <email@example.com> wrote:This is a fascinating article and has a lot of relationship with the works and themes to do with aspects of Walls at this blog.The terrifying aspects of Walls are in danger of greatly multiplying globally--from heavily secured and guarded gated communities to their counterparts, the huge prisons of Gaza and West Bank, to the privatization of the "Prison Industry" in the United States, "reservations" for indigenous populations in USA, Canada and elsewhere, to the construction of ever more tightly controlled and secured borders, checkpoints, entrances to public and private buildings, helicopter surveillances of ghetto areas, satelite systems, cameras posted on city wide street corners and other vantage points on to the non-stop work of legal and illegal intrusion into electronic files, records, links.The production of security and surveillance--whose security--and what may not be "doctored" in the "recordings" and "files"? At what point does "making visible" cross over into "rendering invisible"--fron "rendition flights" to secret torture chambers to the mass erasure of former legal boundaries by "redrawing the lines" with Walls, bulldozers, tanks, drones, surveillance "eyes in the skies" of ever greater power and definition?
To "see" becomes a way literally for "looks that can kill" to be operative at the push of a button. (Robot eyes that will be implanted in the "Seperation" Wall so that there is no need of paying for fallible human eyes and hands to fire guns, rockets--all will be accomplished "automatically".)Walls are also a way to "hide from view" the torture and imprisonment of "undesireable aliens" who may be continually redefined as such using the most arbitrary of markers--"contagious", "addict" "poor" "defective motor/mental development" "inferior ethnic group" "person with beliefs contrary to the common good" "terror suspect" "dissident"-already the media are used as a tool in this conflict--naming, targeting, creating "persons of fear"/"to be feared"--and the time is now for the development of the Incorporation of New Mercenaries such as Blackwater and the "clean up and recovery" operations of Haliburton, Bechtel and others. One can buy both the creations of disasters and their subsequent "remodelings" into "new communities", "new vacation playgrounds", "new development areas".
And in order for al these operations to exist, there needs to be the continual creation of Fear throughout ever more strati of society. Thus the creation of not only more Wars, but more Permanent Wars--Wars on Poverty, Wars on Drugs, Wars on Terror--all Wars Without End which require a continual upgrade and production of surveillance, Walls, machines, death.
Think about it: the ulimate "product" of human activity becomes ever more geared to the "creation" of death.
"Where life had no value, death had its price." as the titles say at the opening of Sergio Leone's For a Few Dollars More. "And that is why the bounty hunters began to appear." The Bounty Hunters being anything from privatized companies to the police and armies, weapons and surveillance of the State--the greatest Terrorists of them all.Cocteau noted that "the cinema films death at work". Walls become a site behind which the work vanishes, is locked away, hidden from "the eyes of the world"--while an other "projection" is played on the surfaces of the "society of the spectacle", one of "safety" for the "pursuit of happiness" of gated communities and countries, corporations.
The Little Milton song says "If Walls Could Talk"--so it is one essays the finding and presenting of "Talking Walls" and of other forms of "The Writing on the Wall" as ways to create cracks in the Walls, their crumblings, their totterings and collapses . . . of other such writers and activists---so that Walls will become something other than "seperation" in all senses of the word . . .
Heraclitus posits something Other, beyond, outside which "sees all", one aspect of which is awareness--so cracks are the beginnings of finding the travel to awarness hidden in plain site/sight/cite which no Walls can seperate--
"One cannot hide from that which never sets"--The article below is viewable on the web at:
Laboratory for a Fortressed World
Gaza in the hands of Hamas, with masked militants sitting in the president's chair; the West Bank on the edge; Israeli army camps hastily assembled in the Golan Heights; a spy satellite over Iran and Syria; war with Hezbollah a hair trigger away; a scandal-plagued political class facing a total loss of public faith.
At a glance, things aren't going well for Israel. But here's a puzzle: Why, in the midst of such chaos and carnage, is the Israeli economy booming like it's 1999, with a roaring stock market and growth rates nearing China's?
Thomas Friedman recently offered his theory in the New York Times. Israel "nurtures and rewards individual imagination," and so its people are constantly spawning ingenious high-tech start-ups--no matter what messes their politicians are making. After perusing class projects by students in engineering and computer science at Ben Gurion University, Friedman made one of his famous fake-sense pronouncements: Israel "had discovered oil." This oil, apparently, is located in the minds of Israel's "young innovators and venture capitalists," who are too busy making megadeals with Google to be held back by politics.
Here's another theory: Israel's economy isn't booming despite the political chaos that devours the headlines but because of it. This phase of development dates back to the mid-'90s, when Israel was in the vanguard of the information revolution--the most tech-dependent economy in the world. After the dot-com bubble burst in 2000, Israel's economy was devastated, facing its worst year since 1953. Then came 9/11, and suddenly new profit vistas opened up for any company that claimed it could spot terrorists in crowds, seal borders from attack and extract confessions from closed-mouthed prisoners.
Within three years, large parts of Israel's tech economy had been radically repurposed. Put in Friedmanesque terms: Israel went from inventing the networking tools of the "flat world" to selling fences to an apartheid planet. Many of the country's most successful entrepreneurs are using Israel's status as a fortressed state, surrounded by furious enemies, as a kind of twenty-four-hour-a-day showroom--a living example of how to enjoy relative safety amid constant war. And the reason Israel is now enjoying supergrowth is that those companies are busily exporting that model to the world.
Discussions of Israel's military trade usually focus on the flow of weapons into the country--US-made Caterpillar bulldozers used to destroy homes in the West Bank and British companies supplying parts for F-16s. Overlooked is Israel's huge and expanding export business. Israel now sends $1.2 billion in "defense" products to the United States--up dramatically from $270 million in 1999. In 2006 Israel exported $3.4 billion in defense products--well over a billion more than it received in US military aid. That makes Israel the fourth-largest arms dealer in the world, overtaking Britain.
Much of this growth has been in the so-called "homeland security" sector. Before 9/11 homeland security barely existed as an industry. By the end of this year, Israeli exports in the sector will reach $1.2 billion--an increase of 20 percent. The key products and services are high-tech fences, unmanned drones, biometric IDs, video and audio surveillance gear, air passenger profiling and prisoner interrogation systems--precisely the tools and technologies Israel has used to lock in the occupied territories.
And that is why the chaos in Gaza and the rest of the region doesn't threaten the bottom line in Tel Aviv, and may actually boost it. Israel has learned to turn endless war into a brand asset, pitching its uprooting, occupation and containment of the Palestinian people as a half-century head start in the "global war on terror."
It's no coincidence that the class projects at Ben Gurion that so impressed Friedman have names like "Innovative Covariance Matrix for Point Target Detection in Hyperspectral Images" and "Algorithms for Obstacle Detection and Avoidance." Thirty homeland security companies were launched in Israel in the past six months alone, thanks in large part to lavish government subsidies that have transformed the Israeli army and the country's universities into incubators for security and weapons start-ups (something to keep in mind in the debates about the academic boycott).
Next week, the most established of these companies will travel to Europe for the Paris Air Show, the arms industry's equivalent of Fashion Week. One of the Israeli companies exhibiting is Suspect Detection Systems (SDS), which will be showcasing its Cogito1002, a white, sci-fi-looking security kiosk that asks air travelers to answer a series of computer-generated questions, tailored to their country of origin, while they hold their hand on a "biofeedback" sensor. The device reads the body's reactions to the questions, and certain responses flag the passenger as "suspect."
Like hundreds of other Israeli security start-ups, SDS boasts that it was founded by veterans of Israel's secret police and that its products were road-tested on Palestinians. Not only has the company tried out the biofeedback terminals at a West Bank checkpoint; it claims the "concept is supported and enhanced by knowledge acquired and assimilated from the analysis of thousands of case studies related to suicide bombers in Israel."
Another star of the Paris Air Show will be Israeli defense giant Elbit, which plans to showcase its Hermes 450 and 900 unmanned air vehicles. As recently as May, according to press reports, Israel used the drones on bombing missions in Gaza. Once tested in the territories, they are exported abroad: The Hermes has already been used at the Arizona-Mexico border; Cogito1002 terminals are being auditioned at an unnamed US airport; and Elbit, one of the companies behind Israel's "security barrier," has partnered with Boeing to construct the Department of Homeland Security's $2.5 billion "virtual" border fence around the United States.
Since Israel began its policy of sealing off the occupied territories with checkpoints and walls, human rights activists have often compared Gaza and the West Bank to open-air prisons. But in researching the explosion of Israel's homeland security sector, a topic I explore in greater detail in a forthcoming book (The Shock Doctrine: The Rise of Disaster Capitalism), it strikes me that they are something else too: laboratories where the terrifying tools of our security states are being field-tested. Palestinians--whether living in the West Bank or what the Israeli politicians are already calling "Hamasistan"--are no longer just targets. They are guinea pigs.
So in a way Friedman is right: Israel has struck oil. But the oil isn't the imagination of its techie entrepreneurs. The oil is the war on terror, the state of constant fear that creates a bottomless global demand for devices that watch, listen, contain and target "suspects." And fear, it turns out, is the ultimate renewable resource.
Missed the show? Watch videos of the Live Earth Concert on MSN. See them now!
Wednesday, July 18, 2007
Date: Wed, 18 Jul 2007 21:07:47 +0200
Subject: invitation>Ryosuke Cohen>croxhapox
performance by / meeting with
Ryosuke Cohen , Shingo Mizoguchi , Kazunori Murakami (Japan)
PC Magazine's 2007 editors' choice for best web mail—award-winning Windows Live Hotmail. Check it out!
"Look under your feet!"--Chuang Tzu
"Sembrar la memoria" is a phrase I learned from Uruguayan Visual/Sound/Performance Poet, activist, historian and theoretician Clemente Padin and was associated with Mail Art /Visual Poetry Calls for the great Argenentian Visual/Sound/Performance Poet Antonio Edgardo Vigo. Since the work and life of Dmitry Prigov also is made of all these poetic elements--and Prigov in the 1960's first was introducing performance in poetry--the phrase is I think fitting in honoring Prigov and in the sense of "sowing" means that the work of Prigov in the world continues on "growing" organically, not simply the "growing recognition" of "Prigov, the man, the works, the archives" but the "growing" of the seeds he has planted in the world as words, images, sounds, acts whose reverberations circle outwards like ripples from a stone cast in waters, traveling through the works and lives of others in ways both "on the surface" and "underwater", underground.
This being "on the surface" and "underwater/underground" is very much part of Prigov's life and work not only literally but also literarilly, in that he was very interested and worked in the areas of hyperauthroship, of heteronymous manifestations of "authorship" in ways that challenge the concept of the "author" and of the "text". Prigov wrote as an Other in texts meant to be taken as by a Classical Chinese Female Poet, (to fill a bit the gap of a woman's poetry not being included among the male dominated canon), a Japanese and many others. He worked in as many genres of poetry as possible, producing over 40,000 poems, to further subvert the concept of the "author" being located in one name, in one style, in one genre, in one syntax, one grammer only. This dispersion into multiplicities opens possibilities of work which previously are constrained by the "monotheism" so to speak of the monolithic Author/Origin. The "sowing" is done rhizomatically, rather than the planting of a single Tree. (Like Walt Whitman's hyperplurality of the tongues of "Leaves of Grass"--no tall Tree towering over poetry/art/performance, but the "democratic vistas" of the multipicities of tongues and their expressions, mulitiplicities of "authors" whose "names" themselves multiply, disperse, disguise, disappear . . . "resurface" and "dive deep" again . . . )
The heroes of my poems have become different linguistic layers . . . A shimmering relationshipbetween the author and the text has developed, in which it is very hard to define (not only for the reader but for the author, too) the degree of sincerity in the immersion of the text and the purity and distance of the withdraal from it . . . The result is some kind of quasi-lyrical poems written by me under a feminine name, when I am of course not concerened with mystification but only show the sign of the lyrical poem's position, which is mainly associated with feminine poetry.
The Russian (living in USA) theoretician, literary historian and critic Mikhail Epstein notes:
"Prigov once, in the spirit of the 'new sincerity', confessed to me his 'masonic' conspiracy for the triumph of creative impersonality throughout the world of art."
These quotations and other facts have led Epstein in his essay "Commentary and Hypotheses" published as an appendix to Doubled Flowering From the Notebooks of Araki Yasusada to positing Prigov as a hypothetical "author"of the works of fictional Japanese poet Araki Yasusada, attributed to the pseudonym Tosa Motokiyu, belonging to an unknown literally (or literarily only? as Epstein notes) "dead author". Indeed, this, as hypothesis or "reality"--shows the opening of horizons made possible in Prigov's work--and its ability to "travel the world" so to speak among mulitplicities of hyperauthroship, and in keeping with his "conspiracy" of "the triumph of impersonality throughout the world of art."
This example and the quotes from Prigov allow me to think that already circulating the world are seeds of impersonal texts, objects, images which have as their site of "departure" the person/poet Dmitry Prigov, yet, now in their travelings already becoming many others, so that their existence as a "seed of Prigov" as in the old school phrase "the author of my days" meaning "father", is dissolved, dispersed fragmentarily, in minutest particles, disappears altogether . . . and "turns up" casually among elsewheres in other times, others' times, "our times" as a sudden sign, a fleeting gesture, of an encounter with an uncanny recognition, a presence momentarily t/here in its continual passing, its traveling, its circulating . . . and moves on--
So indeed as Chuang Tzu says, "Look under your feet!" for there--who knows--among the "leaves of grass" may be many encounters awaiting or happening "write/right now"with Prigovs hidden in plain site/sight/cite.
In English there is a volume available of Prigov's poems from Ugly Duckling Presse and also the manifesto quoted above and poems in Third Wave: The New Russian Poetry edited by Kent Johnson and Stephen M. Ashby, U Michigan Press, 1992. A search on line will lead to other anthologies and translations of Prigov's works that are available since Third Wave.
I first learned of Prigov's works and Russian Conceptualism from conversation with and in the writings of the great American scholar and transaltor of the Russian Avant-Gardes from Futurism and Zaum to the present, Gerald Janecek at a Visual/Sound Poetry conference in 1997.
For an understanding of the backgrounds of and contexts and of the works of Prigov, I cannot highly enough recommend the works of both Gerald Janecek and Mikhail Epstein.
Some of Janecek's writings on Zaum and Transfurism (a later ongoing movement with antecedents in Zaum/Futurism) for example can be found on line at the Light and Dust web site, with selections of the Zaum poet Alexi Kruchonhyk's work and that of some of the Transfurists and a search will lead to other writings.
Writings by Mikail Epstein may be found at a great many places but best to begin at his own:
Mikhal Epstein's Virtual Library:
(will be linked with this blog also)
To give an idea of some of Prigov's works in the areas of Visual/Sound here are a few examples:
For a lecture and reading by Prigov (in Russian, introduced in English; even if you can't understand Russian, to see the poet and hear directly his voicings/soundings is a great stimulus/aide in looking at/reading the poetic works in English and looking at the visual works also.):
also has reading/talk by Robert Creeley and one by A. Dragomoshenko
all clips are from 2002
Dmitry Prigov appears in this film as a man writing on a train
Prigov's views on the possiblity/reality aspects of "visiting America"--travels both "hypothetical" and "real"
From the series "Germany":
From Hand Works exhibition of works by Prigov and Dmitri Tsvetkov at the Krokin Gallery, Moscow, 14 Decemeber 2006-14 January 2007
"Fifth Fragment of Sky"
(perhaps an allusion to Epstein's Hypothesis that Prigov may be the Yasusada "author"?
From "The Birth of the Bear:
Installation sketch for "The Cleaners"
Recordings made with musician Vladmir Tarasov
Monday, July 16, 2007
Trilogy/Tryptich: Poetry by Police System ---Walls of Conflict, Confinement, Critique---Voice Goes After What Eyes Can't Reach: Poems Without Poets
"No one in building . . . as she sought refuse"
"Homeland security" "protects American women . . . from stonings, mutilations . . . "
WALLS of Conflict, Confinement, Critique--and Celebration--
Stencils by Arofish
The ballons symbolize freedom above & beyond walls--
in Gaza, most densely inhabited place on earth--open space for children is rooftops--from where the kites are flown
these lites & kite flyers made in Beirut during Israeli Invasion Summer 2006
Pages from Manifesto of "The Splasher"
so-named for a tag found next to anonymous splashings and splaterings of paint on New York City street art begining in late 2006--as protest agaisnt the "name recognition/ Careerism/invitation to gentrification" of works by "Label names" street artists--street art as a site for gaining entre into art world, which in turn draws the moving in of gentrifying higher and higher income tenants--in effect the "street art" replacing the "street" and turning neighborhoods into art galleries, cafes, condos, etc--
(see entry with links below)
a different kind of "splash art"--Summer 2006 Invasion of Occupied Territories by IDF--Arofish stencils of Condi Rice, Tony Blair, Bush, Ohmert--for children to throw paint bags at--find amusement and entertainment during ever increasingly confined lives due to attacks--
The Wall "clears the horizon" of any sign of Palestinian existence--
A possible future of all Walls: crumbling wall of arsenal, Venice--
Another handy use for Walls--
The "Saint of Death" watching over Mexicans leaving for border with USA--
Mexican side of Border Wall with USA
Splasher anti- Street Art (are the Splashers artists?--anti-artists--lifestyle viglantes?--)
Photograph Exhibition, Nablus--
at many checkpoints, exhibitions are held by using the Border Fence as a "gallery wall"--
so--one may see the living people of the photographs--through a Fence rather than Wall--a "last glimpse"?--before vanishing forever behind Walls and from there into an existence only framed in photographs?
a newly created "open Wall"--bringing fresh air, sunshine, "picture window" views of the machines on break from this "home renovation"--
Walls, Grafitti, Havana Cuba
Walled off by American boycott for over 50 years--
Guantanamo, Cuba--Walled off from the World--
Privatizing the War on Immigration--
the bulldozer as International maker & keeper of borders, seperations--a multi-faceted Construction-Destruction killing machine
Walls of seperation being built by Americans at night in Baghdad--
Protesting "aesthetic cleansing"---the gentrification-via-art settlements of old neighborhoods--
Cleaning the way for gentrication out side the Walls--
"ethnic cleansing of old neighborhoods"--
Arofish--"Cleaning the Streets"--Beirut, 2006--
Many areas already enclosed by Wall--and more vanishing into enclosures--completely surrounded--entombed alive--
Walls and window-- looking into and reaching out--the "Poor Room"--space-time "continuum"--of Forever outside time--
A1ONE Stencils--Tehran, Iran
VOICE GOES AFTER WHAT EYES CAN'T REACH--Poems without Poets--
("My voice goes after . . . " from Walt Whitman, Leaves of Grass)
Recovering drug addict, rehab, Kabul, Afghanistan
Walls--building of them, smashing of them by war, occuptaion, ethnic cleansing, hurricanes, typhoons, volcanos, avalanches, floods, droughts, diseases--forcible exiles, evictions, evacuations--
and NOWHERE TO MOVE, TO GO, TO STAY, TO STAND, TO SIT,TO BE . . .
Site is also linked to this blog--