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.

Saturday, March 29, 2008

Crack in Foundations of Beings




Cid Corman : The Next One Thousand Years



href="http://1.bp.blogspot.com/_G69ZoSfZgpw/R-47DQLLJdI/AAAAAAAAIM8/EWcrOlMbWOE/s1600-h/cidcover-720318.jpg">




Date: Fri, 28 Mar 2008 09:52:21 -0500
To:
From: poetry@sover.net
Subject: Cid Corman : The Next One Thousand Years

Cid Corman : The Next One Thousand Years
Dear Worldwide Friends,

Announcing Cid Corman's : The Next One Thousand Years,  selected poems edited by Ce Rosenow & Bob Arnold is ready from Longhouse now!

Please have a look - cover image is enclosed here - and see if this beauty can fit into your teaching plans, as well as a title to interest friends,  colleagues and your favorite bookstores. Ce plans to use this book as a feature text in her college classes.  We'd love it if other readers & teachers took up the book as a companion.

The selection has been culled from Cid's books large and small, those barely on a wisp of paper, to a magical draw from the yet unpublished OF volumes 4 & 5. His poetry and translations slip together into the selection, and there are appreciations by both editors.

Publisher:  Longhouse, Publishers & Booksellers

Publication date: March 27, 2008
Book size: 5-1/2 x 8 1/2
Pages: 224
Binding: Perfect bound

ISBN 978-1-929048-08-3
Cost: $16.95

More! Please link to this web-page Special Spring 2008 Book Sale:

http://www.LonghousePoetry.com/newbooks.html


HOW TO ORDER:

~ You can mail your order with a credit card number and expiration date, personal check, US drawn bank draft,  money order, or use Paypal

~ email us at HREF="mailto:poetry@sover.net"

~ Shipping, U.S. addresses: $3.50 / international orders, please inquire

Thank you for your order!

Susan & Bob
Longhouse Publishers & Booksellers
1604 River Road
Guilford, Vermont 05301

802-254-4242

http://www.LonghousePoetry.com

Origin, The Complete Sixth Series ~

http://www.LonghousePoetry.com/origin.html

Longhouse Bibliography from 1971 - 2006 is now online~

http://www.LonghousePoetry.com/bibliography1.html

http://www.LonghousePoetry.com/bibliography2.html



How well do you know your celebrity gossip? Talk celebrity smackdowns here.

convocatorias poesia visual




Date: Fri, 28 Mar 2008 21:31:24 +0100
From: cesar@boek861.com
To: supertrili@yahoo.es
Subject: convocatorias poesia visual

http://boek861.com
http://www.poesia-irc.com


EL BOEK 861 SIEMPRE CELEBRA LA DIFUSION DE LA POESIA VISUAL  Y AGRADECE AL COLECTIVO CANAL POESIA LA DIFUSIÓN DE ACTIVIDADES RELACIONADAS CON ESTA DISCIPLINA. ASI QUE PROCEDEMOS  A TRANSMITIROS TRES CONVOCATORIAS MUY INTERESANTES.

La poesía visual trata de manifestar a través de imágenes lo que el autor lleva dentro y necesita compartir, denunciando aquello que no le gusta, o exponiendo las motivaciones que le hacen vivir como un ser libre. Utiliza para transmitir su mensaje todo lo que le sea útil, con la voluntad del encuentro con el lector-receptor.

El lenguaje en la poesía visual es universal, sin límites idiomáticos, válido para todo aquel que tenga voluntad de observar y admitir su misión de lector-coautor.

Todo es posible en poesía visual, sólo se conocen los límites del propio poeta en su capacidad creadora.

Este año nos enfrentamos ante el ilusionante reto de 3 certámenes:
.
1. IV certamen de Poesía Visual para Versos sobre el Teclado.
.
2. I Certamen de Poesía Visual para Noche de Amor.
.
3. I Certamen de Poesía Visual para Poetas Solidarios.

 I CERTAMEN DE POESÍA VISUAL PARA NOCHE DE AMOR     

--------------------------------------------------------------------------------

Este especial va a recibir la colaboración de poemas visuales a través del I CERTAMEN DE POESÍA VISUAL PARA NOCHE DE AMOR para su libro, el primero que sobre esta temática publicará ACP.

El tema del amor es muy prolífico en la literatura y la poesía, y poesía visual también propone este año creaciones en torno a ello. Podréis desarrollar visuales en torno a los diferentes matices de la temática amorosa.

BASES PARA LA PARTICIPACIÓN:

1. DURACIÓN: - La presente edición comienza el 15 de enero hasta 15 de abril de 2008. Después de ese día todo lo que se reciba no entrará en la selección. Se expondrán los poemas visuales en la galería habilitada para ello.

 

2.- PARTICIPACIÓN: Abierta a todos sin exclusión. Enviar con los siguientes datos: nick, nombre y apellidos, domicilio, título del poema visual, firma con la que se quiera aparecer en el visual, email de contacto. TODOS LOS DATOS OBLIGATORIOS.

Podéis enviar los poemas visuales a:

 

trili@poesia-irc.com /supertrili@yahoo.es

 

3.- TEMA: AMOR. Inéditos (que no haya sido publicados anteriormente en papel). NO se admitirán poemas visuales obscenos, que hagan apología del terrorismo, violencia y racismo.

 

4.- En el libro aparecerán 12 poemas visuales. Cada autor puede presentar hasta un máximo de 3 poemas visuales de los cuales solo se seleccionarán uno por autor.

 

5- CARACTERISTICAS DEL POEMA VISUAL:

 

- Formato: JPG alta calidad. (los diseños que se envien en otro formato no serán admitidos)

 

- MEDIDAS ( son las máximas permitidas)

- Ancho: 1654 píxeles o 140 milímetros

- Alto: 2480 píxeles o 210 milímetros

- Resolución: 300 ppp (pueden enviar los archivos comprimidos en winrar o winzip)

 

- GAMA - blanco y negro

- El equipo de poesía visual, se reserva el derecho de ajustar la imagen al tamaño de edición.

 

6.- Una vez el autor haya entregado su poema visual no se aceptarán modificaciones de las imágenes.

 

7.- JURADO: 3 personas ajenas al canal #poesia y expertos en poesía visual. Este año contamos con 3 grandes poetas visuales: César Reglero, Roberto Farona y Jesús Maestro.

 

8.- El autor, cede todos sus derechos a la Asociación Cultural Poesía, sin esperar remuneración pecuniaria alguna.

 

-La Asociación Cultural Poesía se compromete a utilizar la imagen dentro del ámbito para el que ha sido creada.

 

9.- La participación implica la total aceptación y conformidad con estas bases.

 

 

IV CERTAMEN DE POESÍA VISUAL PARA VERSOS SOBRE EL TECLADO    

 

--------------------------------------------------------------------------------

 

Por cuarto año consecutivo, #poesia apuesta con fuerza por esta sección, que acompañará al famoso certamen Versos sobre el Teclado.

 

Y como todos estos años, una amplia selección de poemas visuales aparecerán en el libro que anualmente publica ACP.

 

Demos rienda suelta a nuestra creatividad y plasmemosla visualmente porque la poesía no entiende de fronteras.

 

Bases para la participación: .

 

1. DURACIÓN: - La presente edición comienza el 15 de enero hasta 8 de octubre de 2008. Después de ese día todo lo que se reciba no entrará en la selección. Las obras podrán visitarse en la galería habilitada para ello.

 

2.- PARTICIPACIÓN: Abierta a todos sin exclusión. Enviar con los siguientes datos: nick, nombre y apellidos, domicilio, título del poema visual, firma con la que se quiera aparecer en el visual, email de contacto. TODOS LOS DATOS OBLIGATORIOS.

 

Podéis enviar los poemas visuales a:

 

trili@poesia-irc.com / supertrili@yahoo.es

 

3.- TEMA: LIBRE. Inéditos (que no haya sido publicados anteriormente en papel). NO se admitirán poemas visuales obscenos, que hagan apología del terrorismo, violencia y racismo.

 

4.- Cada autor puede presentar hasta un máximo de 3 poemas visuales (se publicarán dependiendo del espacio disponible en el próximo libro)

 

5- CARACTERISTICAS DEL POEMA VISUAL:

 

- Formato: JPG alta calidad (los diseños que se envíen en otro formato no serán admitidos)

 

- MEDIDAS ( son las máximas permitidas)

- Ancho: 1654 píxeles o 140 milímetros

- Alto: 2480 píxeles o 210 milimetros

- Resolución: 300 ppp (pueden enviar los archivos comprimidos en winrar o winzip)

 

- GAMA : color o blanco y negro.

 

- El equipo de poesía visual se reserva el derecho de ajustar la imagen al tamaño de edición.

 

6.- Una vez el autor haya entregado su poema visual, no se aceptarán modificaciones de las imágenes.

.

7.- JURADO: El equipo de Poesía Visual se encargará de seleccionar los poemas visuales para el libro.

.

.

8.- El autor cede todos sus derechos a la Asociación Cultural Poesía, sin esperar remuneración pecuniaria alguna.

 

-La Asociación Cultural Poesía se compromete a utilizar la imagen dentro del ámbito para el que ha sido creada.

.

.

9.- La participación implica la total aceptación y conformidad 

 

 

I CERTAMEN DE POESÍA VISUAL PARA POETAS SOLIDARIOS    

 

--------------------------------------------------------------------------------

 

La poesía social, la denuncia, el grito por aquello que porvoca desigualdades, injusticias y dolor, no puede pasar desapercibido para el poeta.

El poeta visual tiene a través de la imagen, un recurso de gran impacto donde poder clamar aquel mensaje social que quiere que sea observado.

 

Poesía Visual convoca este certamen en el que nos encantaría que no tengáis tapujos a la hora de expresar aquello que os parece injusto en la sociedad actual.

 

BASES PARA LA PARTICIPACIÓN:

 

1. DURACIÓN: - La presente edición comienza el 1 de julio hasta 15 de octubre de 2008. Después de ese día todo lo que se reciba no entrará en la selección. Se expondrán las obras en la galería habilitada para ello.

 

2.- PARTICIPACIÓN: Abierta a todos sin exclusión. Enviar con los siguientes datos: nick, nombre y apellidos, domicilio, título del poema visual, firma con la que se quiera aparecer en el visual, email de contacto. TODOS LOS DATOS OBLIGATORIOS.

Podéis enviar los poemas visuales a:

 

trili@poesia-irc.com / supertrili@yahoo.es

 

3.- TEMA: SOCIAL. Inéditos (que no haya sido publicados anteriormente en papel). NO se admitirán poemas visuales obscenos, que hagan apología del terrorismo, violencia y racismo.Se ruega cuidar el trato de las imágenes (sobre todo rostros de niños). Recomendamos visitar el foro de noticias de referencia de Poetas Solidarios para la actualidad social; es muy útil para encontrar un tema para los visuales.

 

4.- En el libro aparecerán 12 poemas visuales. Cada autor puede presentar hasta un máximo de 3 poemas visuales de los cuales solo se seleccionarán uno por autor.

 

5- CARACTERISTICAS DEL POEMA VISUAL:

 

- Formato: JPG alta calidad. (los diseños que se envien en otro formato no serán admitidos)

 

- MEDIDAS: ( son las máximas permitidas)

- Ancho: 1654 píxeles o 140 milímetros

- Alto: 2480 píxeles o 210 milimetros

- Resolución: 300 ppp (pueden enviar los archivos comprimidos en winrar o winzip)

 

- GAMA - blanco y negro

- El equipo de poesía visual, se reserva el derecho de ajustar la imagen al tamaño de edición.

 

6.- Una vez el autor haya entregado su poema visual, no se aceptarán modificaciones de las imágenes.

 

7.- JURADO: son 3 personas ajenas al canal #poesia y expertos en poesía visual.

 

8.- El autor cede todos sus derechos a la Asociación Cultural Poesía, sin esperar remuneración pecuniaria alguna.

 

-La Asociación Cultural Poesía se compromete a utilizar la imagen dentro del ámbito para el que ha sido creada.

 

9.- La participación implica la total aceptación y conformidad con estas bases.

 ..............................................................................................................................................................................
http://boek861.com
PARA AMPLIAR INFORMACION
http://www.poesia-irc.com

Friday, March 28, 2008

presentacion proyecto " objetual"







 

Videoarte dominicano en Barcelona


30 ACCIONES/




Date: Fri, 28 Mar 2008 00:31:56 -1200
From: colectivochocolatero@gmail.com
Subject: 30 ACCIONES/




ESTIMADOS AMIGOS

POR ESTE MEDIO LA ESCUELA DE BELLAS ARTES DE SANTIAGO, LA 37 POR LAS TABLAS Y LA FUNDACION CAMINOS DEL PROGRESO TIENEN EL PLACER DE INVITARLES A PRESENCIAR EL EVENTO PERFORMATICO ¨30 ACCIONES/¨A CELEBRARSE EL DOMINGO 30 DE MARZO DE 4:00 PM A 8 :00 PM  EN LAS 37 POR LAS TABLAS.

 LOS ESPERAMOS!!!

 C

 



In a rush?

Thursday, March 27, 2008

Holzer's "Projections" and Movies & Classes Offered at Gitmo Usher in New Era

Guantanamo Detainees Offered Classes and Movies



Detainee wearing light proof goggles & sound proof headphones



Much has been learned about media outreach to hearts and minds since Vietnam 1963, Holzer’s “Projections” Show




"Bean bag chairs are becoming more and more widespread in the world of business as research companies have declared them conducive to a more productive environment than regular chairs."

Today new methods, influenced by the corporate world and the increased focus on the nexus of language and high-tech imagery, screens and projections, offer a much wider range of means for reaching the hearts and minds of workers at all levels of the corporate-State-military complex, insuring an ever smoother transition into the functioning of the individual within a language centered program designed for maximum control while ensuring the greatest degree of comfort and creativity. To attain the equilibrium of these is, indeed, to balance the scales of poetic justice.  Language is the key to the New Sentencing guidelines.

"There is nothing that bean bag chairs cannot do."

 

"Companies have recognized the fact that a more comfortable and less formal place to work actually encourages people to up their work rate as well as enabling creativity to flourish."






The Associated Press, interview with Army Col. Bruce Vargo

 

Vargo, who commands the military's Joint Detention Group at Guantanamo, says it is important to give the detainees more to look forward to each day.

Some of the best-behaved detainees now get TV night, with DVDs of movies and TV shows shown on a high-definition Sony TV. A classroom in Camp 4, designated for the most compliant detainees, has metal desks and plastic chairs, although detainees remain shackled by the leg to the floor in class.

Language courses have begun in English, Arabic and Pashto, Vargo said in the interview last week. He intends to soon offer classes on subjects as diverse as oceanography.

"If we can get them to focus on humanities programs, if we can get them to focus on recreation, then their sole focus is not going to be on the guard force," Vargo said. "It is my thought that if they are focused on those things, then the level of assaults and things of that nature will go down."

In it, the artist projects words onto the walls, ceiling, and floor of the football field-sized gallery,

 while patrons are invited to lounge in giant silver bean bag chairs and take it all in.

Jenny Holzer's installation "Projections,"  . . .  is a fluid, magical piece, with projected poetry sweeping across the football-field-size gallery.

. . . the piece is a flood of light and language spilling over the beamed surfaces of the building, and intermittently blinding the spectator.

The result is almost unviewable

. . .  but truthfully it's a little hard to read the poem texts, though I'm not complaining


                                                      Holzer designed enormous beanbags for the show, to be

 scattered around the floor of the space

Guests kicking back on the bean bags take in the projections.Views of the installation at Mass MoCA by Jenny Holzer. Jenny Holzer PROJECTIONS at Mass MOCA 11-17-2007

.

 Others sprawled about on several enormous bean bag couches kicking back and trying to read and absorb the slw scroll of text projected with blinding intensity from both ends of a vast space about the dimensions of a double football field.

 

 

 

"Holzer's spectacle tends toward aestheticized politics ,the power of which is in its overwhelming scales and the subjugation of the viewer."  . . .
they sweep back and forth across the space from projectors at both ends, elongating illegibly along the side walls
.

The room is massive — almost the size of a soccer field — so it's a bit like stepping into the opening sequence of the Star Wars films

 . . .  the slow scroll of text projected with blinding intensity from both ends of a vast space
about the dimensions of a double football field.

 

a








You may not realize at first that you are part of the installation, as illuminated text from the other end rolls up and over your body, glaring as it hits you in the eye.The only objects are large beanbag chairs on the floor, inviting you to lie down and enjoy the light show.

It's a magical experience, and that's partly because of the interior setting.

We walk across the room, back to the entrance, and stand in the doorway. The words are small and legible as they emerge from the floor, then stretch and distort - what Holzer refers to as the "Star Wars thing" -

"Stand at the gallery's entrance, and as poems such as "In Praise of Feeling Bad About Yourself" scroll upward against the far wall, the effect is epic, like watching the opening text of "Star Wars" at an IMAX theater."

Anyway, the scrolling star wars movie credit like typography art was cool . . .





“What? STAR WARS borrowed from Nazi Propaganda? “

“As you probably know, the above image is from the award ceremony at the end of STAR WARS: A New Hope.



from Leni Riefenstahl's "Triumph of the Will" Lighting Projections by Albert Speer




"There's our composition," Holzer says. "You go in and out of reading text and looking at funny lights. So that's our little trick."




"Ms. Holzer found these documents at the Web site of the independent, nongovernmental National Security Archive (nsarchive.org), which obtained them through the Freedom of Information Act."

The NSA also has its own Jenny Holzer Gallery, with images of one of her texts in a show In Vienna, the words of which are an essay by NSA Director Thomas Blanton on Holzer, which first appeared in "Foreign Policy" magazine.

By using the Archives Holzer is also advertising the Archives, which carry a Gallery of her works using the Archives. A mutual promotional campaign is thus also being waged via the use of the war related documents.

Art Before Power
Jenny Holzer Exhibition Showcases Archive's Documents

12 days before the opening of "Projections" the Archives announced an excellent new Gallery, which has its own unexpected similarities with Holzer's works using the Archives.

Holzer is presenting painted versions of the documents--just as Colin Powell's Power Point presentation to the UN closely preceding the Invasion of Iraq used--paintings of documents.

The Record on CURVEBALL
National Security Archive Electronic Briefing Book No. 234
Edited by John Prados
Posted - November 5, 2007

Each of 15 same-size, medium-large canvases, stained purple or brown, bears an all-black, silk-screened reproduction of a PowerPoint diagram used in 2002 to brief President Bush, Donald Rumsfeld and others on the United States Central Command’s plan for invading Iraq . . .



"The projected poems may relate to these, but truthfully it’s a little hard to read the poem texts"

“Included in this series are maps, originally part of a PowerPoint presentation, that reveal various planning stages prior to the invasion of Iraq. Holzer’s display of maps and documents reveal the bureaucratic administration of war through the cloud of paint and the weight of a looming installation.”

Yet the original documents were ALREADY paintings . . .

and during the arguments over using the information provided by Curveball, when one government official, asserting the government had "proof" of Curveball's "veracity " and "accuracy" was challenged as to where these "proofs" had been found--she replied--"the Internet"--

to which her opponent roared: "Where do you think he (Curveball) found them!!!"




A situation mirrored in Holzer's finding in the Archives the materials she uses for her works which are in honored by a gallery of her works using the Archives--at the Archives' web site.

One of the methods used at Guantanamo is much like that used by Holzer. The detainees are forced to wear for months at a time light-proof goggles, sound-proof headphones. At some point in time, they are snatched out of their blind and deaf solitary confinement cells and subjected to an immense barrage of high intensity pulsing lights--not unlike the "Projections" which viewers find "blinding" and "unviewable," with words "illegible." This is combined with the blasting of super high decibel sounds, music, noise.

The detainee is subjected to a reenactment within Walls of the experience of "Shock and Awe" of the original "Shock and Awe" bombardments of Iraq and Afghanistan.

As Naomi Klein explains in her great book "The Shock Doctrine," these techniques are applied to persons and entire countries, in order to breakdown, disorient and confuse the "subject" so that while they are in this state, huge changes they would otherwise resist are forced through to completely alter their "realities" according to prepared scripts and programs.

One example Klein uses is the rushed pushing through of the Patriot Act and its hundreds subsequent related bills and actions by the Bush government in the period of "Shock and Awe" immediately following 9/11. While the population is disoriented, Authority can dare to accomplish things it otherwise would not.

Rather than critiquing these methods, Holzer's mirror them--
creating spectators who unquestioningly accept the message of "Authority"--
delivered as a "light show" or as paintings of paintings of "information"--"found on the Internet"--

The eerily similarily phrased praise heaped on Holzer's work then is a reflection of the public's and the critic's recognition of its function as "Authority," to which a mass-mind assent is to be given.

"The Power of the Work" is its reflection of the Work of Power through the uses of lighting and "art" in creating a "reality" in which gallery goers and prisoners begin to approach each other ever more closely in their roles of "spectators" and "captive audiences."

"Power Point" and the "Point of Power" --
to coerce, convince, control--


These declassified maps were a part of the power point presentation leading the Shock and Awe.Colin Powell slide 39

"The PowerPoint paintings give the impression of a cool, rational, step-by-step logic born of technocratic hubris . . . 

"Kappell had expected to see photographs, hard evidence.  Powell's illustrations weren't proof.  Powell had used artists' conjectures . . . 

Ms. Holzer is practicing a form of political action with these paintings."

" . . .   based on analysts' interpretations of Arabic-to-German-to-English translations of debriefing reports of a manic-depressive defector the Americans had never talked to."

"Without question, her latest acts of protest look strangely elegant and go for wildly high prices"

 

 

 

 

 


this is from the ANNALS OF THE NEW EXTREME EXPERIMENTAL AMERICAN ART & WRITING
except for the first paragraph, by d-b chirot, all texts are taken from reviews of Jenny Holzer's "Projections" exhibit at MassMoCa, which is still showing there.
The amazing similarity of language and images used to describe the show from one reviewer to the next is not a little eerie--
as though the entire spectacle, like those of Riefenstahl and Speer and at Gitmo, is tightly controlled to produce the same effect in everyone, destroying individuality and creating the new mass which, as Naomi Klein writes in The Shock Doctrine, is the patient, the prisoner, the people, who are shocked into a degree zero,become a blank, zombie , a blank page, canvas or screen--
on which the Authoritative artists at the service of the State inscribe and display the subjection of the person, the people, to the "The Triumph of the Will" of the State

Naomi Klein to open ACJC conf ; alternative to Canadian Jewish Congress & B'nai Brit






Media Advisory
March 26, 2008
Alliance of Concerned Jewish Canadians
ACJC
 
Independent Jewish Canadians meet to form alternative to
Canadian Jewish Congress; Naomi Klein to kick off conference
 
More than 100 Jewish activists from across Canada will gather March 28-30th in Toronto at a conference to form a network of anti-occupation groups dedicated to building real peace and justice in the Middle East.
 
Convened by the Alliance of Concerned Jewish Canadians (ACJC), the conference will gather Canadian Jews belonging to 18 groups who are coming together to challenge the views of the Canadian Jewish Congress, the Canada-Israel Committee and B'nai Brith, along with the Stephen Harper government—all of whom uncritically support the Israeli government's violations of international and humanitarian law.
 
Author Naomi Klein will kick off the conference this Friday evening with a talk entitled "The challenges facing us: Why we need a Canadian Jewish progressive movement". The meeting is being held at the Steelworkers' Hall, 25 Cecil St. in Toronto.
 
Participants share a common opposition to Israel's occupation of the West Bank and siege of Gaza as well as the Harper government's one-sided approach to the crisis in the region. The meeting will also include non-Jewish allies who share the ACJC's concern about what is happening in the West Bank and Gaza and who wish to work together with the ACJC in common pursuit of a lasting peace, based on justice for all of the peoples of the region. They include Katherine Nastovsky, Canadian Union of Public Employees; Deborah Bourke, Canadian Union of Postal Workers; Vicky Obedkoff, United Church; Khaled Moummar, Canadian Arab Federation; Chris Jones, Canadian Peace Alliance, and Susan Howard-Azzeh. 
 
Media are invited to hear Naomi Klein as well as a panel of representatives from international Jewish organizations that share ACJC's concerns about the Middle East including:
 
                    · Jewish Voice for Peace from the U.S.
                    · Brit Tzedek v'Shalom from the U.S.
                    · Independent Jewish Voices from the U.K.
                    · The International Jewish Solidarity Network
                    · European Jews For Just Peace
 
Date:               Friday March 28, 2008
Time:              7:30 p.m.
Location:       Steelworkers' Hall
                        25 Cecil Street, Toronto, Ontario

Conference spokespeople will also be available for interviews on the formation of the new group at the close of the conference on Sunday March 31st at 2:30 p.m. at the Steelworkers' Hall.
 
For further information, please contact: ACJC Administrative Council Members & Conference Coordinators:
 
Diane Ralph: 613-314-1805                      Sid Shniad: 604-314-5589



Palestinian Canadian National Voice - Founding Conference - May 31-June 1, 2008 - Montreal




Guantanamo Entries on this Blog during the Last Year with Descriptions




Tuesday, March 25, 2008
US Army Bans Al-Hajj's Guantanamo Cartoons

Thursday, March 13, 2008

Music as Torture/Music as Weapon


Monday, March 10, 2008

Music as a Weapon/Music as an Instrument of Torture
Music as a Weapon/Music as Torture


Wednesday, February 20, 2008

"Projections" and Movies at Gitmo Usher in New Era
Guantanamo Detainees Offered Classes and Movies

Photos-essay-review using quotes from reviews, articles, documents
linking Jenny Holzer's Projections exhibit with Guantanamo, Star Wars and the Nuremberg Rally or 1934 as designed lit and filmed by Albert Speer and Leni Riefenstahl


Monday, January 07, 2008


FW: DAY OF ACTION: January 11th is the 6th anniversary of the first transfer of detainees to Guantá

Wednesday, December 12, 2007

Waterboarding and Poetry: 15th Century France--21st Century USA


Essay on Waterboarding, Translation and Poetry

Gunatanamo Poems & Francois Villon with many images past. present & by d-b Chirot
forthcoming also on line in Wordforword Journal

Friday, December 07, 2007

Guantanamo Waiting for Justice --Video

Friday, September 21, 2007
Guantanamo Poetry

Sunday, September 02, 2007
A Cry from Guantanamo: A Voice from Gitmo's Darkness

Montage of Gitmo footage and imagery with voice-over reading of Letter in LA Times 11 January 2007 by Jamah Al-Dossari
his story from capture through his detention in Guantanamo
" A Seaon in Hell" in "other" words

see also this entry for this book and links
Poems from Guantánamo: The Detainees Speak |

Thursday, August 30, 2007
The War on Terror in American Schools and Universities Turning into War on Arabic Language as Part of "Islamo-Fascism"--The Asault on First Amendment

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

Images Essay--of photos from many sources mixed with paintings, rubBEings & collages by db Chirot and pieces by other artists

Monday, July 02, 2007

FW: For another new 5 years more....! Poster/Visual Poetry by Clemente Padin

EL OJO DE DIOS Part the First: Insects & Letters





El Ojo de Dios

For Leonardo Sciascia

“J’ai trop a ecrire, c’est pourquoi je n’ecrire rien.”—Stendhal, Journal, 1804

Part the First: Insects and Letters





El Colonel smiles. Bright birds sing in the morning air. Limpid light through the wide open windows bathes the high celinged room’s whitewashed stone walls. The coolness of night, refreshing as nearby mountain streams, rises in the wake of dawn’s departing mists. “The promise of a good day is given unto him,” El Colonel hums, imitating the cadences of a childhood hymn.

El Colonel smiles. With practiced precision, his favorite adjutant appears, “true to the appointed minute, ever mindful of detail.”

El Colonel smiles. Along with his great fondness for alliteration, El Colonel has an addiction for placing thoughts, those improvised compositions, in quotation marks. This brings “a deft touch of intriguing and entertaining irony to the most prosaic of ideas, events, and persons “ Habituated to an imaginative isolation, El Colonel’s intellectual companions are his “compositions” with their attendant “commentaries,” “asides,” “digressions,” and “annotations.” By means of this “ironic distancing” he continually invents “a hitherto unknown and as yet unpublished form of writing, never before seen nor heard.”


El Colonel smiles. This writing is a method of creating for himself a reader who is in turn accompanied by his own doubling as a writer. Where there had been “no one with who to share his most intimate thoughts, the fullness and agility of his life,” there is now not only such a companion; there is also a recorder of “his deeds and exploits.” In such a way El Colonel simultaneously acts, writes and reads both for himself and to another, who is also both a reader and an other author in turn, providing El Colonel with his own role as a reader. By these means his life takes on an aura of legend, and he acts both as though creating the performance of something which is happening, and of something which has happened “already.” By the latter means, his life is taking place in a futurity in which it is read, and in a present in which it is written. The simplest acts and words are invested with the immediacy of a drama “taking place,” the glow of “great acts having taken place ,” and, to heighten both drama and aura, the precisions of a prefatory “about to take place,” which allows for the insertion of the necessary commentaries, directions, and asides. “For the benefit of the listener, for the pleasure of the reader, for the background material necessary to the writer,” as El Colonel describes it with relish in a self-penned blurb.

El Colonel smiles. “Implacable face of an idol, obsidian eyes set in burnished copper,” the handsome adjutant stands before him with the morning’s first batch of dispatches, files, runner-delivered letters, and neatly folded and crisp “primarily Provincial” newspapers. The adjutant is one of El Colonel’s pet projects, “a raw recruit before our very eyes transformed into a perfect specimen of youth tempered with discipline.”

El Colonel smiles. The adjutant’s high cheek bones and broad shoulders “indicate a physiognomy and physique in harmony with the topography.” “Impassive, inscrutable, O what rock hewn ages has your being not known,” El Colonel hums as the bright birds sing.

El Colonel smiles. Snapping to attention, the handing over of the documents being accomplished, the adjutant speaks in clear, carefully enunciated tones. “Colonel today is the one appointed for your meeting with El Ojo, at 10.00 hours.”

El Colonel smiles. With a slight broadening of his lips, El Colonel indicates to the expectant adjutant that he, too, may smile. A smile which El Colonel “knows full well he is eager to indulge in.” El Ojo is well known to be a great favorite with the men of the “Heroic Patrol.” His meetings with El Colonel “inspire and arouse curiosity even among the most stoic.” Sometimes these meetings change nothing more in the daily routine than this “elevation of interest”; sometimes “they indicate an imminent Action of the Heroes.”

El Colonel smiles, the adjutant smiles. “El Ojo,” El Colonel pronounces with firmness, and, with a broad gesture indicating that a small table and two large chairs are to be advanced to the center of the room, adds, “Prepare the strongest Reserve coffee and bring two pack of unsealed cigarettes.” It is well known that El Ojo will only smoke cigarettes whose seals are broken before his watchful gaze.

El Colonel smiles. Going to the wide open window he gazes through aviator sunglasses at the bright birds, the luminosity of the landscape and “reflects on the irony that reflective glasses shield one’s reflections from observing eyes by their mirrored reflections of a thwarted inquiry.”





El Colonel smiles. Behind the reflecting sunglasses, “his own reflections concern themselves with a reflection found within the ‘Author’s Note’ to the Second Edition of Joseph Conrad’s The Secret Agent, a copy of which he found when literally ransacking a small private library whose owner he had been ordered to take possession of.” El Colonel “recollects in tranquility,” that the passage had “greatly interested, inspired and amused him, for in it Conrad had written: ‘Man may smile and smile but he is not an investigating animal. He loves the obvious. He shrinks from explanations. Yet I will go on with mine.’”

El Colonel smiles. Watching the play of light on large leaves upon whose surfaces insects have begun to gather “seems to remind him of the play of the light even in the cool dimness of the library on the leaves of the book, upon whose surfaces the letters had gathered.” This “doubly reflecting” aspect of his seeing and his recollections strikes him “as an image of the intimate intercourse of the natural and human worlds, of the revelatory union of the exterior and interior of consciousness, and of the synchronistic simultaneity of the moment and a memory which doubles as its mirror.”

El Colonel smiles. Conrad’s man who may smile and smile, loving the obvious and shrinking from explanations, he finds himself to be the “paradoxical embodiment of the contradiction of.” For, “reading Conrad’s words crawling on the leaves of the book in the cool, shadowy light, he had found himself, not as the one described, but as the union of the description and its author. As both the smiler and the investigative explainer who describes and refutes him, as the one whose task it is to bring into being their union. As and in himself. And in that moment he experienced the recognition of his unique Vocation and of himself. “

El Colonel smiles. “To smile, to love the obvious, and to present and preserve the explanation which both the smile and the obvious conceal, the reflections behind their reflecting surfaces. This, this is his alone, this unique vocation, this great passion, this most confidential mission.”

El colonel smiles. Checking his watch, he turns and approaches a chair on one side of the table set in the center of the large light filled room. This chair and the one on the table’s other side are high backed, with strong arms of a wood hard as iron and painted in a still shiny black lacquer. The upholstered seats and backs are not uncomfortable and of a worn red fading into rose. With studied and precise, angular movements, El Colonel begins to arrange himself in the correct position in which to be found by his “immanent and eminent visitor.”

El Colonel permits himself a barely audible and very brief laugh as “he takes possession of himself the better to assiduously arrange the head, the torso, the limbs, the folded hands, as though he were in the process of preparing a stuffed and mounted specimen of a representative example of a Colonel, whose taxidermist he himself was.”

Slowly easing himself "into that final and most correct of attentive and formal postures in which to be found waiting by his entering guest, he felt such a spontaneous joy sweep through himself, that even with his 'embalmed veins', a pulse surged through 'his dessicated being' and he half sang sotto voce those most favorite among his favorite lines in all the canon of the Renaissance Spanish tongue:


Yo, por bien tengo que cosas fan seneladas, y por nunca oidas ni vistas, vengan a noticia de muchos y no se entetierren en la sepultura del olvido.
--Lazarillo de Tormes