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.

Friday, July 11, 2008

La Isla - The Island, instalación cum performance de Clemente Padín (reposting as a reminder--for tomorrow)

>
Instalación cum Performance de Clemente Padín en A MORIR, Sábado 12 de Julio, 2008, de 13 a 17 hs., en Martínez Trueba y Durazno
 
 Almuerzo: Guiso Carcelario
 

LA ISLA en tanto instrumento de control de la sociedad carcelaria. El castigo que nos espera si no se cumplen las reglas y normas. Marcar el paso. Al parecer todo agrupamiento social exige de leyes para su funcionamiento, es decir, exige una conducta adecuada que autorice el buen desempeño del sistema económico determinante. Todo lo que impida el "normal" ejercicio de las piezas del sistema está condenado al castigo.

 

Por ello cuando el sistema quiebra, debido a las causas que fueran, se habla de "revolución", es decir, de la instauración de nuevas normas y procedimientos, de nuevas leyes o "reglas de juego". Por ello  los sistemas suelen establecer mecanismos de control que aseguran la preservación y continuidad de sus procesos. Estos mecanismos, a nivel socio – económico ya fueron estudiados en los 60s. por Althouser, en aquellos libros clásicos que,  sin duda, hemos ojeado en nuestras lecturas juveniles.

 

El tema no es la discusión de si tales leyes son necesarias o no (ello nos retrotraería a mucho tiempo atrás). El tema es cómo se imponen en la sociedad, si por convencimiento o por compulsión. Si es por convicción exige que las leyes sean discutidas y que cada miembro de la sociedad las acepte

convencido de su condición necesaria para poder vivir en sociedad, sin los desbordes de nuestra naturaleza animal.

 

Así, por su rendimiento y competencia, la coacción que ejerce el castigo por el incumplimiento de las leyes o costumbres es la vía aceptada por casi todas las sociedades. Así, cada miembro de la comunidad, va sufriendo, sucesivamente, la influencia de su familia, el barrio, la escuela, la religión, las normas sociales, el Estado, etc. Los transgresores se le castiga directamente y se les recluye en la cárcel. De tal manera se intenta controlar la conducta de los miembros de la comunidad a través de la coacción y el autoritarismo. Y, cuando falla la ley, la propia sociedad suele imponer sus castigos, cruentos o incruentos.

 

El penal es una pequeña sociedad que reproduce, palmo a palmo, a la macro sociedad. El poder ejercido por los militares con su cadena de mandos es tan arbitrario como el de las clases adineradas en la nuestra aunque, en ambos casos, la legitimidad del ejercicio del poder devenga del Estado. Las leyes que intentan asegurar el cumplimiento de los plazos de reclusión impuestos por los jueces militares son similares a las de nuestro Código Penal. Y, también, lo son los mecanismos de control dentro de los cuales, LA ISLA, fue la estrella indiscutible del Penal de Libertad, destinado a los presos políticos durante la dictadura cívico-militar en el Uruguay. Este instrumento asegura, en un tiempo mínimo, el mayor de los castigos, tanto físico como psicológico: el aislamiento total, la noche de los tiempos, el silencio de la muerte, la confusión temporal y el desorden espacial propios de la locura, el frío de la soledad, la pérdida del yo…Pero, por sobre todo enseña a "marcar el paso" a los internados, a aceptar y cumplir las reglas arbitrarias que imponía el poder, en aquel caso, de los militares. Hoy día...

 

 Esta es una difusión del Club de Fans de Clemente Padín. Si Usted no desea seguir recibiendo estos mensajes haga clik en el link.

 

 

 

the island

 

Installation cum Performance of Clemente Padín in To DIE, Saturday 12 July, 2008, from 13 to 17 hs., in Martínez Trueba and Durazno, Montevideo, Uruguay

 

Lunch: Guiso Carcelario

 

 

The ISLAND in so much instrument of control of society of jail. The punishment that waits for us or else they are completed the rules and norms. Marking the pass. To the view all social group demands of laws for its operation, that is to say, it demands an adequate conduct that authorizes the good acting of economical dominant system. Everything the one which impedes the "normal" exercise of the pieces of system is convict to punishment.

 

For it when the system breaks, due to the causes that are, speaks of "revolution", that is to say, of the establishment of new norms and procedures, of new laws or "regulation of game". For it systems are accustomed to establish mechanisms of control that secure the preservation and continuity of its processes. These mechanisms, to level social - economical were already studied in the 60s. by Althouser, in that classical books that, without a doubt, we read in our juvenile readings.

 

The topic is not the discussion if laws are necessary or not (it would return us to much time behind). Topic is how they are imposed in the society, if for convincing or for compulsion. If for conviction it demands laws are argued and that each member of society accepts them convinced of its necessary condition in order to could live in society, without overflows of our animal nature.

 

So, for its humility and competition, the compulsion that exercises punishment for the noncompliance of laws or customs are the accepted road for almost all the societies. So, each member of the community goes suffering, successively, the influence of its family, district, school, religion, social norms, State, etc. To those that don't complete the law it discipline you directly and confines them in the jail. It´s the manner are attempted to control the conduct of members of community through compulsion and authority. And, when law fails, society is accustomed to impose its own punishments.

 

Jail is a small society that reproduces, span to span, to our society. The power exercised by the military with its chain of controls is as arbitrary as the of the wealthy classes in the our although, in both cases, the genuineness of the exercise of come from State. The laws that attempt to secure the execution of the terms of reclusion taxation for the military judge are similar to our Penal Code. THE ISLAND, unquestionable star of  Liberty Jail (in Uruguay), was destined to political prisoners during the civic-militar dictatorship (1973-1984). This instrument secures, at one time minimum, the senior of the punishments, as much physics as psychological: total isolation, night of times, silence of death, temporal confusion and spatial disorder of madness, cold of solitude, the loss of self. But, the most importantis to teach to "mark the pass" to the internees, to accept and complete the arbitrary rules that power impose, in that case, of military one. Nowadays there are other means in democracy....

Mail Art Calls-- Convocatorias / boek861 bn 110708

Tema: COPY ART Copia arte
Direccion postal: Silvio De Gracia - Almafuerte 1007 (6000)
Junín, Buenos Aires, ARGENTINA
Fecha limite: Primera fecha límite: 25
Convocatoria: Proyecto abierto y en proceso. Exhibición Internacional de Copia Arte. Tema: El cuerpo. Nosotros somos un cuerpo. El cuerpo es nuestro instrumento, nuestro límite y nuestra identidad. Queremos conocer tu cuerpo. Si tú quieres participar en este proyecto sólo debes enviar una copia de cualquier parte de tu cuerpo (rostro, manos, pies, etc). Nosotros aconsejamos fotocopiar directamente en la máquina fotocopiadora. Debes enviar 6 copias, sólo blanco y negro. Tamaño: A4. Incluye tu nombre y país en el frente del trabajo. Envia tu dirección completa (electrónica y postal)
Los trabajos ingresarán en el Archivo HOTEL DaDA.

Exhibiciones: Argentina - Brazil - Chile.
En Argentina: Universidad Nacional del Noroeste de Buenos Aires. En Brasil: Sechiisland Micro Gallery.
Otras sedes posibles en Europa.

Curador / organizador: Silvio De Gracia - HOTEL DaDA

Documentación: catálogo para todos los participantes durante 2009. Si quieres colaborar con la edición del catálogo puedes enviar 10 dólares o 6 Euros junto a tu contribución. Esto no es obligatorio. Todas las contribuciones serán expuestas e incluidas en catálogo. >


Nombre: Séptimo Premio de Poesía Experimental de la Diputación de Badajoz
E-mail: publicaciones@dip-badajoz
URL:
Tema: Séptimo Premio de Poesía Experimental
Direccion postal:
VII Premio de Poesía Experimental
Diputación de Badajoz.
c/ Felipe Checa, 23
06001 Badajoz
Fecha limite: 26 de septiembre de 2008
Convocatoria: Séptimo Premio de Poesía Experimental

INFORMACIÓN
E-mail: publicaciones@dip-badajoz.es
Teléfono: 924 21 24 50
Fax: 924 21 25 47

La Excma. Diputación de Badajoz organiza el VII Premio de Poesía Experimental.

Para participar en esta convocatoria la nacionalidad no será impedimento y podrá optar al premio cualquier creador de cualquier país.

BASES

1 Cada autor, mayor de edad, presentará una sola obra inédita hasta la fecha del fallo del Jurado.

2 La técnica a utilizar es libre. El original no debe superar el formato A-4 y puede presentarse en tres dimensiones sobre soporte plano.

3 La dotación de los premios se establece de la siguiente manera:

Primer premio de 2.000 euros.
Dos accésit de 600 euros cada uno.

4 La cuantía del premio se hará efectiva previa reducción del correspondiente IRPF en vigor.

5 Las obras seleccionadas por el jurado serán expuestas en la Sala de Exposiciones de la Diputación de Badajoz.

6 Todos los seleccionados recibirán un catálogo de la exposición.

7 Los poemas seleccionados no se devolverán, pasando a formar parte del Archivo de Poesía Experimental de la Diputación de Badajoz.

8 Los originales no seleccionados serán devueltos a sus autores, previa petición de los mismos, en el plazo de un mes a partir del fallo del Jurado.

9 La fecha límite de presentación es el día 26 de septiembre de 2008. Posteriormente a esta fecha sólo serán admitidos los trabajos en cuyo matasellos conste que fueron enviados dentro del plazo. Los originales deben enviarse a la siguiente dirección:
imagen logo sobre

VII Premio de Poesía Experimental
Diputación de Badajoz.
c/ Felipe Checa, 23
06001 Badajoz

10 En la parte posterior del poema debe figurar exclusivamente el título (éste sólo aparecerá visible en el poema en los casos en los que sea estrictamente necesario para su lectura), y en sobre adjunto y cerrado los datos personales del autor.

11 El fallo del Jurado se hará público el día 24 de octubre de 2008. Ese mismo día aparecerá la relación de seleccionados en la página web de la Diputación: www.dip-badajoz.es. sección "notas de prensa". Por decisión del Jurado, el premio puede ser declarado desierto.

12 El número de miembros del jurado será impar y estará compuesto por destacados personajes del mundo artístico y literario.

13 La Diputación Provincial de Badajoz no mantendrá correspondencia alguna con los optantes al premio ni facilitará a éstos información sobre clasificación de las obras ni sobre los integrantes del jurado.

14 El hecho de concurrir a este premio supone aceptar todas sus bases.
Arriba


Nombre: "Mail-print" Antonio Langoyo
E-mail: langoyo@hotmail.com
URL:
Tema: grabado por correo
Direccion postal: Taller Langoyo
Calle Joan Miró, 11 - e - 2ºB.
06011 BADAJOZ
Fecha limite: 30/11/2008
Convocatoria: "Mail-print"
Grabado y Arte por Correo.

Con el objeto de aunar el mundo del Grabado con el del Arte por Correo se crea esta convocatoria de acuerdo a las siguientes bases.

1. Podrán presentarse un máximo de dos obras de tema libre.
2. Las obras deberán estar realiizadas en alguna de las técnicas de estampación (cualquier proecedimiento es válido, desde la Xilografía a la Estampa Digital).
3. El formato será único y se ajustará al de la tarjeta postal, es decir 14 x 9 cm y un grosor máximo de 2 mm.
4. Cada obra llevará en el dorso los datos del autor, dirección y créditos postales. No se admitirán aquellas que vengan en sobre o no se ajusten a estas normas.
5. Se remitirán antes del 30 de noviembre a Taller de Grabado Langoyo. Calle Joan Miró, 11-E6-2ºB. 06011 BADAJOZ.
6. Todas las obras recibidas se expondrán virtualmente en www.langoyo.com y presencialmente en una sala aún por determinar.
7. La organización se compromete a custodiar las estampas recibidas y en ningún caso comerciará con ellas.
8. No se mantendrá contacto postal con los participantes aunque estos podrán consultar la evolución de la convocatoria en la página web.



INTERCAMBIO
MINIATURA


Atelier
LA CASITA XOMOLLI

(el taller "la casita en un rincon")

 invita al intercambio de miniaturas de artista

El proyecto se desarrolla de la siguiente manera:

cada artsita que adhiera enviarà dos miniaturas de las medidas maximas de 10.0 x 5.0 cms.
la fecha de cierre es a fines del 2008 y se harà un sorteo para devolver a vuelta de correo una miniatura al azar de otro artista.

por lo tanto:
tema: LIBRE
medidas: 10x5 cms. maxima
tecnica: libre sobre cartoncillo, tela, plastico, fotografia o algun otro material de resistencia superior al papel;
La miniatura debera ser firmada por el lado frontal
y detras tener las especificaciones de:
titulo
nombre y nacionalidad del artista
email (si se desea)
fecha

No habra exposicion
No se restituirà la segunda miniatura que quedarà en el atelier La Casita Xomolli
No habrà preferencias en el sorteo
No habrà seleccion al recibir las miniaturas
No habra catalogo
Solo documentacion basilar

Nuria Metzli Montoya
Atelier La casita Xomolli
VIA MODENA 150
07026 OLBIA (OT)
ITALIA
http://montoya.yolotl.org



PARA VER OTRAS CONVOCATORIAS VISITAR
http://boek861.com


It's a talkathon – but it's not just talk. Check out the i'm Talkathon.

"After Rimbaud's Illuminations" & Visual Poetry from "Illuminations"


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After Rimbaud’s Illuminations

Entering the dark low barred door. A smell of sawdust long unswept, wet and rancid. The bartender a giant African. Gesturing to the courtyard e says—“through there”—a small arch. In the courtyard rain is falling. Wooden doors indicate toilets. Two have no door. Opening the one door a man with pants around his ankles shrieks and is hopping and chasing me with a knife.

Jean-Pierre is cooking horsemeat in blood and wine and garlic. It makes the cramped L-
shaped apartment in the slowly collapsing building all the hotter. Marcel is showing me how to make plastiques. His hard hands work slowly so I may learn. For once we are not smoking with cigarettes hanging from our lips. We are not suicidal after all. Certainly not on such a night. Marcel says three girls are coming. We will fuck them in the ass. He says they are very tight this way. But no children you see he says no complications. The three stacked TVs are talking incessantly about the moon landing. Some famous person is saying that in Jules Verne’s books and Melies’ very early film classic the French have been there first. You see what assholes they are Marcel says. They think they own history. With these little bombs we will make a hole in history and then—and then—the people will rush in. The little bombs are almost done and Jean-Pierre is calling us to come eat meat and blood and garlic. We will light candles but not to say Grace.
The three virgins are coming for us. Perhaps one can enter Heaven backwards. It is very hot in here.

The girls in this town have large supple thighs. Below the knees, the legs bared, they swing their feet in time to the band. Sitting on the stone embankments along the ancient street, when they slightly part their legs in skirts the heat of summer rushes out into the evening.

I am the one walking incessantly these streets and alleys. All wall cracks and pot holes are known to me. I am the one listening to the peripheral languages signaling from the hubcaps, the shining metals, the bright plastics, the painted woods. The construction site engulfs me with its orchestrations of colors, sounds, shards—its chaos and order exchanging forms. The melted snow runs in rivulets among smashed stones. Puddles pool slick with oil. I am slowly finding fragments of myself here. After all it is called a construction site.

Very dusty evening at the train station. A hot wind and lurid smoke make the air feel on fire. Standing waiting are a long line of North bound Arab workers in cheap suits with small bundles. Some Spaniards are standing barefoot, craning their necks birdlike to peer into the incendiary distance. The station master wears along dirty mustache. Women in brightly colored robes with their heads covered hold noisy small children. Young couples are locked in embraces. One man has his hands up his girl’s dress and she her hands down his pants. A woman jerks a gaping child away. A few mean are laughing and drinking wine from wicker encased bottles they pass in a circle. The light to the East is gold. Every person is a Saint in an icon in this moment in time. From the fiery West a train is approaching. Soon all Hell will break loose.

This is a very strange place. I am sitting on the edge of a bed looking out the barred window at a small yard flanked by extensions of this building I seem to be in. A laundry line hangs limp. A picnic table with a crow perched on it. The only sound I hear is someone yelling over and over motherfuckin motherfuckah. The light has a yellow tinge to it. It slants and makes a line separating light from shadow on a building opposite. There is an alley, narrow and only partly made of bricks. A cat is moving slowly along it. The rest of the area is brown and yellow short grass in muddy looking dirt. A man is suddenly here looking at me. His face is quiet and his eyes are encyclopedias. You got time to get used to it bro. The best part is when the cat chases the crow.

















From “After Rimbaud’s Illuminations”
for Michelle Greenblatt

An October morning, light of burnished gold and blue. Fresh planed wood plank floors, Byzantine labyrinths leading from staircase to staircase. Man with me is sweating. Sawdust motes swirling thickly cling to his skin. Scratches and swears. “Like climbin the motherfuckin Himalayas.” Freshly painted studios and apartments wide open for airing. Higher up, no work yet done. Dirty floors, creaking stairs, stale smells, heavy air.
Man whose name I do not know, sweating man, pale flabby skinned cancelled eyes man . . . . sawdust caking you.
With each step I enter a different landscape. In each one I live completely.
Light filtering through ever thickening dust and dirt, light flickering in intensifying heat.
Eyes fixed upwards, seeing the skylight
White out, a white out.
Down a very dirty dark corridor. Windows here all boarded up. Light pounding futilely throbs my head.
A turn in the darkness. In the distance, light from a cracked-open door.
“Man you want is inside of there.”
Pushing the door . . . watching it swing slow motion open . . .
From a small skylight, a shadow cast in the dust.
Time is there, just time.
Standing and looking . . . all the time in the world he’d left behind, dust and shadows on the floor.
Not far from his bare feet hanging a kicked stool’s height from the floor, his small strangled son lay in dust and shadows.


In this darkened room among bodies on the floor drug coiled veins exist vampirically. A sexual structure of death is long abandoned. New forms of chastity mockingly adorn attenuated bodies. Of the scents of arousal there are no signs amid films of clammy sweat. Beaches of no sound watch waves break in wan light. Disconnected strands of mysticism lie among washed up waste. Pallid hands splay still among bleached mirrors. Inching along by the elbows a woman gasping for breath seeks a syringe. The monumental floor crumbs keep impeding her. The heavy door is locked and candles are burning. Air bubbles, air bubbles . . . you don’t want air bubbles in your shot . . . Among dimming memories, air bubbles burst, fly away . . . are absorbed among the thick curtains. Curtains, curtains . . . sing song-y sings . . . its curtains, curtains . . . slowly it’s curtains . . . inching along . . . gasping for breath . . . among bodies . . . on the floor . . . Curtains . . . it’s curtains . . . slowly . . . it’s curtains . . . sing song-y sings . . . sighing . . . sighing . . . air bubbles away . . .

NYTimes.com: Book Cites Secret Red Cross Report of C.I.A. Torture of Qaeda Captives



WASHINGTON   | July 11, 2008
Book Cites Secret Red Cross Report of C.I.A. Torture of Qaeda Captives
By SCOTT SHANE
The Red Cross concluded that C.I.A. interrogation methods constituted war crimes, placing Bush administration officials in danger of prosecution, according to a book to be published next week.

NYTimes.com: U.S. Tries to Help 3 Scholars Barred From Leaving Gaza

| July 11, 200>
U.S. Tries to Help 3 Scholars Barred From Leaving Gaza
By ETHAN BRONNER
Using a portable fingerprinting machine, U.S. consular officials were seeking to expedite the granting of study visas to three students in Gaza, despite Israeli concerns.

Thursday, July 10, 2008

Nam June Paik & "Technology Ephemera & Zen Forevers " --Memories and Comments re Nam June Paik and Fluxus Then/Now/Always

This statement was written at the request of Owen Smith, who edited the 2006 Double Issue of the journal Visible Language which focused on historical Fluxus and included also Statements by myself and 11 other contemporary artists who have been influenced by Fluxus.
Following this Statement, there's the link for all 12 statements, which are fascinating & highly recommended.
With my thanks to Owen Smith for the invitation to participate.













Nam June Paik is one of my favorite "Modern" artists and always an inspiring figure.
Often rummaging around in junk in the streets I can still hear his laughter and his excited commentaries while working with his magnets on the stacks of trashed tvs in an immense very cold room in an anonymous looking building at MIT. He brought this same humor and enthusiasm to his teaching and--to every aspect of being alive.

He always reminded me of the statement of Johannes Baader, the "OberDada" of Berlin, in the December 1918 issue of Die Freie Strasse.

"A Dadaist is someone who loves life in all its unencompassable forms and who knows and says: 'Life is not just here, but da, da (there, there)!"




Technology Ephemera & Zen Forevers

DAVID-BAPTISTE CHIROT


THE GREAT JAPANESE HAIKU POET BASHO WROTE THAT THE BASIS OF ART is change in the universe. And the French poet Charles Baudelaire first defined Modernism as a presentation of what is eternal in the ephemeral. To me Fluxus is very much a conjunction of the great Japanese and great French poets' statements. They meet in Robert Filliou's Eternal Network of Mail Art and in the Fluxus use of the most common elements found at hand to create performances, events, scores, sounds and images. In Fluxus, the emphasis on the conjunction of the eternal/ephemeral in a continual state of change has been what most inspires me about it.
I believe that what endures in Fluxus is this spirit of using the most ephemeral, common objects to create a memorable event. Fluxus is a form of tension between the chaotic and the controlled-with more chaotic elements being in Mail Art, with its beautiful embrace of everything being a work of art-to the more controlled aspects of performance directions, scores and scripts.
I also think the Fluxus presents a festival atmosphere, one of celebration, of joy. I think there is also a profound aspect of mysticism with Fluxus-one of open acceptance of the wonder of the moment, and how the moment can in a moment be a deep insight into the eternality of change-an acknowledgement of this.
It is a mysticism that comes, I feel in part, from the conjunction of a Western technological use of machines and devices with the Eastern thought of Taoism and Zen. I find this especially expressed in the works of John Cage and Nam June Paik. Along with Dick Higgins, these are the only Fluxus artists (if Cage is considered one) I have met in person and heard and seen perform. (I have some versions of Zen text that were translated by George Brecht, with poetical versions by Dick Higgins.)
Nam June Paik especially impressed me with his immense sense of humor. I audited a class he taught at MIT in the late 1970s and he was obsessed with Boston Bruins hockey games on TV. He had banks of TV sets on which endless hours of hockey played, run through a myriad distortions. The flow and controlled chaos of hockey was very much in tune with his thoughts on art. As a sports junky, I thoroughly enjoyed his appreciation and enthusiasm for the game in its visual aspects-the speed, the collisions, the continual strife and bizarre and sublime harmonies of the sport. What I deeply felt in Paik's approach was the sense of ACTION-action coming from an intense attention-a very Zen like approach in many ways. I also enjoyed his use of the found-beat-up, junked TV sets-the technological as the epitome of the ephemeral-cast off, out of date, thrown away in alleys and replaced with a bigger, newer, more expensive machine-or-a smaller, cheaper one! He had a great sense of humor-one that for me I feel is one of the best aspects of Fluxus.



This statement was written at the request of Owen Smith, who edited the 2006 Double Issue of the journal Visible Language which focused on historical Fluxus and included also Statements by myself and 11 other contemporary artists who have been influenced by Fluxus.

You can find the Statements of myself and the 11 others here:

artist's StaTemeNts | Visible Language | Find Articles at BNET.com

DAVID-BAPTISTE CHIROT. THE GREAT JAPANESE HAIKU POET BASHO WROTE THAT THE BASIS OF ART is change in the universe. And the French poet Charles Baudelaire ...
findarticles.com/p/articles/mi_qa3982/is_200601/ai_n17183605/pg_3 - 27k -


Histories and Theories of Intermedia: 2/3/08 - 2/10/08
David Chirot


http://umintermediai501.blogspot.com/2008_02_03_archive.html
--

Re-Visioning Norman Rockwell's "Four Freedoms" & Senate Passes Re-Enforcing Surveillance at "Freedoms''" Expense












ARTS / ART & DESIGN   | July 9, 2008

Art:  Rockwell Re-enlisted for a Nation's Darker Mood By DAMIEN CAVE A new exhibition in Florida features 60 artists' responses to Norman Rockwell's wartime "Four Freedoms" series.

Senate bows to Bush, approves surveillance bill - Yahoo! Newshttp://news.yahoo.com/s/ap/20080709/ap_on_bi_ge/terrorist_surveillance

The interest of the Times review is that journalist Damien Cave had spent 18 months ("off and on") in Iraq; this "frames" his view of the exhibit and the passersby almost completely ignoring it as a "reflection" of the "Darker Mood" that the contemporary artists bring to Rockwell's vision, which itself darkened during the Vietnam War.

The "Four Freedoms" that Rockwell depicted and are re-invisioned in the Exhiibtion, today took another heavy blow to the "heart and mind"as the Glorious, Courageous Senate once agin rubberstamped the Bush administration's Assaul on the Constitution.

In years gone by, only Probation or Parole could mean a change in one's Fourth Amendment Rights, and that was strictly controlled by the Law.

Now the Fourth Amendment is becoming a fading anachronism as far as the Lawmakers of Today are concerned.

In order to defend the Nation--the citizen must be ever more deprioved of their Freedoms, which are being ever more "defended" by the by the ever more strengthened "Homeland Security" in the "War on Terror."

The more Freedoms you lose at home, the more you know they are being defended abroad.  And here at home, too--with al that surveillance going on of one's fellow citizens--

President FD Roosevelt famously said--"We have nothing to Fear but Fear itself."

A "War on Terror" means that one needs to be always & ever more Terrified--

And in the name of Terror--the State requires citizens to give up as many Rights is possible so that they can rest safel;y in knowing that they thmselves are wel protected from Terror.

History has proved Dr Goebbels right when he stated that the only thing needed to do to ever more tightly control a soceity is to say--that it is Threatened From Outside--

so that the Threats from Inside grow worse all the time, yet pass by unnoticed, much as passersby pass the art exhibtion by almost unnoticed.

Who, after all, wants to look at things which offer any critique too closely?

Senator Obama like the two thirds majority voted for this increase in Surveillance and immunity for the telecoms.  Who can afford to look "weak on Terror" when running for Office?

In Wisconsin one may feel glad that once again "our" Senator Feingold--the only Senator who voted NO to the Patriot Act--louldy opposed this.

In the last two weeks the Senate approved 170 million dollars more military aide for Israel (which already receives 3 billion annuully already)--yet did not pass a single bill for any program for American citizens.

The reason of course is in the name of the "War on Terror."

The greater the Terror after all--the more things have to be taken care of somewhere else--
sacrificing Rights and Freedoms here--why be concerned about Rights and Freedoms of others ?
Who cares if the State and its allies are War Criminals?

Robespierre  said that the two arms of the State are "Terror and Purity."

"Terrorism" itself came later in history--in the second half of the 19th Century.

The State discovered that by crying "terrorism!!!"--it could unlesh Terror and Purity with impunity--in fact, by "voting" as it has  today, to give itself and its cronies Immunity as it were.  No matter how great the horrors and Terror and the ethnic and other cleaning operations undertaken by the State--that which is done by "terrorists" is always of a far more Evil nature.

No one remembers when the Americans themselves were the "terrorists" against the Birtish State and King--

Read the Declaration of Independence and discover that the State of today must be overthrown by the citizens.   Everything it and its allies stands for and does daily is what the Declaration was against, and declared its Independence from.

It is any wonder then that the State of today carries on a continaul assault agsint the Declaration and the Constitution?  If anyone really took them seriously --why the State would all be locked up, lock stock and barrel--or executed as traitors.

You see right away why these documents need to be revised so badly. If one lived by them, one would be a "terrorist" in the eyes of all that is held  so dearly today as the "people's" deepest desire and greatest necessity"--, in the name of the War on Terrorism.

During the Reign of Terror in France, which last week over a year--about the same number of persons were killed as were in 1871 during the Bloody Week in which the Sate suppressed the Commune.  Then, a much more efficient State, heavily aremd with the support of world wide media and opinion outraged by al those "terrorists" in charge of the City of Paris--slaughtered 20--25,000 people in full view of the patrons of cafes, who, now feeling ever more Secure, could sit at again at their sidewalk "spots" and enjoy a cozy drink, enjoying whole heartedly their ringside seats at the murder  going on all about them.

After all, Terror and Purity were making sure that "terrorism" would no longer live in their midst for at least a long generation, if not for several.

With every new law enacted, evry new bill passed, inexorbaly, the State is making sure that there really will be no "terrorists" in the society's midst.  not only "terrorists" from elsewhere, but in the citizens' midst, homegrown terrorists of all kinds. To help further the laready ever lengthening "arm of the Law" of the Sate, there is now a vevival of programs outof use since WW2, only thenew ones are to be even more stringent.  These recruit and train ordianry citizens as well as ploice, fire fighters , postal wrokers, etc--in the daily War at Home--that is, persons tarined to be neighbor "outlook posts" as it were--keping their eyes and ears open 24/7 fror the slightest signs of "persons acting suspiciously" or "taking photgrphas of uninteresting sites."
If developed successfully, why, the State could be the proud creators of a form of "undercover secret police" not unlike that in China today.

Are you good and tired of your neighbor's penchant for mowing the lawn during your "qulity time" with your poetry writing--hek, the guy seems very suspicious deosn't he.  Look at al the mail that he gets that comes in brown paper wrapping--
or al those late night phone calls when you can hear him speaking in a foreign language--

Yes, turn in him and by God, no more interruptions in the Poetry!!

Think how much more Creative oneself and one's colleagues could be, once freed from al these "suspicious foreign influences"--or simply noisy neighbors--

Haven't you noticed how much more Creative a nation we are becoming daily--?
The incredible increase in the number of poeple writing and reading Poetry for example--?

"Don't drop the ball--make the Call!!"


ARTS / ART & DESIGN
  | July 9, 2008
Art:  Rockwell Re-enlisted for a Nation's Darker Mood
By DAMIEN CAVE
A new exhibition in Florida features 60 artists' responses to Norman Rockwell's wartime "Four Freedoms" series.


Senate bows to Bush, approves surveillance bill - Yahoo! News

http://news.yahoo.com/s/ap/20080709/ap_on_bi_ge/terrorist_surveillance

Fwd: Kaurab Online Issue-25 is out

Dear Reader

 

Kaurab Online's latest issue No. 25 is out. Please visit

http://www.kaurab.com

 

Click on "Ei Sa`mkhyaa"

 

This years marks the 10th anniversary of Kaurab Online, the first Bengali poetry webzine.

In an age of dementia, nostalgia is perhaps a healthy ailment of the ageing. With zero

regrets about a phase passed we bring you some of Kaurab Patrika's early literature –

a snapshot from the 1970s.

 

This issue covers the founding writers of the Kaurab group. Fortunately for us, they are

all still alive if not necessarily kicking. This contents of this issue are  –

 

  1. Cover Art by Jamini Roy (from Kaurab 50 festival issue)
  2. An ancient editorial by Subhas Bhattacharya
  3. Ah! Those Tricycles – A much acclaimed famously weird poetic-prose piece by Shankar Lahiri
  4. "MAHISHH" poems by Swadesh Sen, Kamal Chakrabarty, Barin Ghosal, Arun Ain, Subhash Bhattacharya

Incidentally, "Mahishh" was supposed to be the name of a journal which is now called Kaurab.

  1. Poems scanned from fading issues by Debajyoti Dutta and Shankar Chakrabarty
  2. Shankar Lahiri interviewed by Sudeshna Majumdar

 

Also check out our English Translation Site, which should be seen as an international poetry magazine with a focus on Bengali poetry.

 

http://www.kaurab.com/english

 

This second update covers, among Bengali poets, Buddhadeb Bose, Malay Roy Choudhury and Barin Ghosal.

 

The Buddhadev Bose page is authored by Pat Clifford.

Constant advice and encouragement from Jyotirmoy Dutta and Damayanti Basu Singh has helped enrich this entry.

 

Malay Roy Choudhury's page includes his much mythified poem Stark Electric Jesus, which in the past 40 years has been the most anthologized contemporary Bengali poem in English and is included in Poems for the Millenium, Vol. 1 ed. by Jerome Rothenberg and Pierre Joris (1995), My recent interactions with Jerome Rothenberg on Malay Roy Choudhury has been personally inspiring. Thanks to Murat Nemat Nejat. Stark Electric was first published by Lawrence Ferlinghetti in City Lights, later by Howard McCord (several editions). Stark Electric Jesus is a transcomposition made from the original Bengali poem titled "prachanda boidyutik chhutaar".

 

Malay's page also links a rare vignette on the Hungryalist Movement only to be found in Kaurab. This can be

directly viewed here -

http://www.kaurab.com/english/bengali_poetry/Hungry-Generation/

All poems of Malay Roy Choudhury are translated by the poet.

 

Likewise, Barin Ghosal translated his poems.

 

The interview section includes the following -

a. Joseph Parisi, ex-editor of POETRY, interviewed by Ankur Saha

b. Turkish poet Lale Muldur interviewed by Aryanil Mukherjee.

 

We also re-launched the Book Opener section which is an international poetry book review series, edited by Dana Ward and Aryanil Mukherjee.

This update includes reviews by

David Baptiste Chirot (Poems from Guantánamo)

William Allegrezza (The Grimoire of Grimalkin).

 

Happy Reading !

 

Editor, KAURAB Online

www.kaurab.com

 

 

 

 

 

 


Nam June Paik

"NAM JUNE PAIK "BIOGRAPHY"" Video

;">

Paik nam june

Nam June Paik - Electronic Moon #2

Tuesday, July 08, 2008

Supplement2 for Kaurab Translation Update: le "Hungry" poete Bengale Pradip Choudhuri traduite en francais, avec une note "bio" de Bruno Sourdin



(published 1994)
Many Thanks to Harry Burrus for sending this journal to me--















A Supplement for Kaurab Translation Update: "A Few Bengali Poets" Introduced by Allen Ginsberg, City Lights Journal 2, 1963

(apologies for the erratic scans--soon as i find the book again in the rubble here will re do them--)


As is pointed out in the Hungryalist issue of Kaurab just posted here--

in the West, these Bengali Poets were often mistakenly thought to be influenced by the Beats--

whereas, the Hungry Poets had already been at work for a couple of years before Ginsberg's taking up residence among them--

This little selection with Ginsberg's introduction is an event whose historical importance is discussed in Kaurab--


























Kaurab Translation Update: Hungryalist Movement plus more

Many thanks to Kaurab for their fantastic work in creating a vital exchange among Bengali Poetry and Poets and writers & writings from their ever expanding International contacts.

Kaurab is one of the most exciting journals to read and learn with--one encounters--

Read on--!!

(There is also a Review in here re The Guantanamo Poems which is a part of the ongoing "Annals of the New Extreme American Poetry"--my Thanks to Kaurab for accepting and including this--dbc)





Dear All

Kaurab Online's Translation Archive has just published its second update.
http://www.kaurab.com/english

This update covers, among Bengali poets, Buddhadeb Bose, Malay Roy Choudhury and Barin Ghosal.

The Buddhadev Bose page is authored by Pat Clifford.
Constant advice and encouragement from Jyotirmoy Dutta and Damayanti Basu Singh has helped enrich this entry.

Malay Roy Choudhury's page includes his much mythified poem Stark Electric Jesus, which in the past 40 years has been the most anthologized contemporary Bengali poem in English and is included in Poems for the Millenium, Vol. 1 ed. by Jerome Rothenberg and Pierre Joris (1995), Stark Electric was first published by Lawrence Ferlinghetti in City Lights, later by Howard McCord (several editions). Stark Electric Jesus is a transcomposition made from the original Bengali poem titled "prachanda boidyutik chhutaar".

Malay's page also links a rare vignette on the Hungryalist Movement only to be found in Kaurab. This can be
directly viewed here -
http://www.kaurab.com/english/bengali_poetry/Hungry-Generation/
All poems of Malay Roy Choudhury are translated by the poet.

Likewise, Barin Ghosal translated his poems.

The interview section includes the following -
a. Joseph Parisi, ex-editor of POETRY, interviewed by Ankur Saha
b. Turkish poet Lale Muldur interviewed by me.

We also re-launched the Book Opener section which is an international poetry book review series, edited by Dana Ward and me.
This update includes reviews by David Baptiste Chirot (Poems from Guantánamo) and William Allegrezza (The Grimoire of Grimalkin).

Happy Reading !

Aryanil Mukherjee
Editor, KAURAB Online
www.kaurab.com
==================================


PROYECTOS RECIENTE /BOEK861 0708

PROYECTOS RECIENTES QUE PUEDES VER EN
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1
Publicación de César Espino Barros

Mi relación con el Mail Art es muy peculiar / César Espino Barros

 Martha Aitchison THE SHOPPING TROLLEY GALLERY y el mail art


La experiencia personal de Sergi Quiñonero en el Mail Art


(1993-2008) Vittore Baroni : Un proyecto integral de ARTE POSTALE

Geneología del Mair Art / Merz Mail - Industrias MiKuerpo (Ev)


El mail art visto por Antonio Sassu (Gruppo Sinestético)

Homenaje de Tiziana Baracchi a Pig Mail Art DaDa (Baudhuin Simon)

 Mi vivencia en el Arte Correo / Narración de Jorge Restrepo

"otros proyectos"

 Spencer Selby's List of Experimental Poetry/Art Magazines /
Arte de Acción -Arte paralelo- Mail Art /Nelo Vilar / TDS
2008/181 Isabel Aranda YTO,: fomentar el Mail Art desde Escaner Cultural Desde Portugal un completo magazine: O Contrário do Tempo Recordando a Edgardo Antonio Vigo Conversaciones de Poesía Visual-Experimental con Roberto Farona Ediciones Guays / Publicaciones Artísticas / Conceptos 5º Aniversario Arte Postal en la Ciudad de Ceuta / Avance Catálogo Carelman / De los Objetos Imposibles a los poemas objetos Wolf Vostell/ Museo Malpartida / Fluxus VII Premio Poesía Experimental Badajoz 08 / El caso Claudia Q. Frau Polipoesía en la Casa Encendida y otras referencias poipoéticas Poesia fonética, sonora y visual hasta el S. XXI /Merz Mail / TDS Kunstainer: Nuevo espacio de arte contemporáneo en Tarragona Mail Art: Taller de Artista / Informe de Manoel Bonabal Vanguardias, vanguardismos y Poesía Concreta / José Lezama/ TDS Jose Emilio Antón y Liber Azione / El libro de Artista contemporáneo 25 poemas de mail art de Francisco Peralto y una historia de arte correo Del Ultraismo al Surrealismo pasando por una Fiesta Ultra EL LOCO el último proyecto de la revista ensamblada METAMORFOSIS Antoni Miró: una historia sentimental con el mail art El Tocador de Pitos / Una experiencia única de Antonio Gómez 25 años del Colectivo ALCANDORIA y La Caja de los Truenos Ciudad de Ceuta 08: cinco años de arte postal / Diego Segura Universidad Cantabria /Taller Estable de Poesia/ Francisco Peralto Teoría y praxis de J.M. Calleja Del situacionismo al perro situacionista: PULGU / 1957-2008 Las Bienales de Poesía Visual-Experimental en México 1996-2008 La faceta didáctica de Gustavo Vega y la poesía visual catalana Hugo Pontes y ComunicARTE: La Poesía Sin Fronteras Bicicleta n. 9/ Junio 08 / con A. Gómez,Aguiar, Stabile, Padín, etc. "Clemente Padin" 1967-2006 un libro que marca época en el network Proyectos de Roberto Farona 2004 - 2008 Recordando a José-Carlos Beltrán a través de sus textos Los Herederos de Brossa / Basado en E. Escofet y J.M. Calleja Homenaje a los 25 años de la aparición de Veneno / CPV La poesia visual de les dones catalanes/ Xavier Canals / TDS Proyecto de apoyo al Sahara /Convocatoria Mail Art Boletin electrónico Boek861 020608 / Mail Art y Sahara Ready made / desde 1916 al 2008 Pasando por Regina Selàvy El misterio editorial de WU MING / Nueva publicación Boletin electrónico Boek861 290508 / libros experimentales PV Discurso sin norma / Colección de Revistas Experimentales Esto no es un libro/ Centro de Ciencias Humanas y Sociales / CSIC Poeticas del Objectes/ Treball multidisciplinar a la UMH Literatures / Muestra de Poesía Visual de Josep Sou Homenaje a Ray Johnson / Convocatoria Ediciones del Cementerio EDITA 08 : Los pensamientos de Nohemí /Crónica de un encuentro Boletin electronico Boek861 - 270508 - convocatorias mail art El Barco de los Locos: Un proyecto Intercultural surca los mares AUMA / Acción Urgente de Mail Art / décimo aniversario / Acciones Graffitis, creatividad y rebeldia por César Reglero Trans Art Muestra Electrografia / MIDE: Museo Electrografico UCLM Trabajo sobre G. Deisler de Daniel Rojas / C. Padin / Boek861 Proyecto AUMA / Amnistia Internacional Informe 2008 / MAIL ART Tardor Literaria Tarragona 08 / Kataliza / La Pell del llavi / Human Trush Boletín Electrónico Boek861 / Zines / 280508 Trenes y Vagones / Proyecto de Arte Postal de Samuel Montalvetti Documental sobre la Poesía Visual en la Red/ J. Fernández/TDS Ciberpoema / Recursos poéticos en la Red / J.A. Cardete Proyecto TELARAÑA en Perú de Antonella Prota Giurleo Planeta Zappa / Un proyecto de Carlos Zerpa Nuc 2008: Convocatoria de Arte Postal contra la contaminación LabcromdiSol / El Signo Móvil coordinado por Roberto Farona Boletin eléctonico Boek861 EXPOESIA ZINES/ 260508 Franklin Fernandez/ Entrevistas: del poema objeto al objeto imposible Boletin Boek861 n.240508 Holopoetry Book de Eduardo Kac Revista Heterogenesis n.45/ Poesia Visual por Cesar Reglero Centro de Poesia Visual de Peñarroya/ España Boletin Electronico Boek861 180508 B. Chiarlione: Archille Cavellini GAC 2014 Italia Facio por SIS Proyecto Canya / Ideas y Vueltas / IVAM Festival de Acciones Poetic as / Aquis Celonis Conceptualismos al Sur/Sur por Clemente Padin Belleza en Serie de David Cobo Puntoacciones / Poesia Visual-Poema Objeto / E. Ortiz-E.Revuelta Proyecto Postdata de Tulio Restrepo Universidad Miguel Hernandez / Poesia Visual LALATA / Ediciones Guays 2008 Edita 2008/ Ecuentro de Editores Independientes Danza y Performance 2008 AMORIR Espacio de arte-acción por Clemente Padin Proyecto Multidisciplinar de la Pell del Llavi Fiesta de lo Imposible en la Vaqueria Paraules per la Pau / Homenaje a Brossa Encuentro Corporación Semiótica Galega - Taller del Sol 5 proyectos MA / PV Proyecto Desvelos de Agustín Calvo Galán Prensa Grafica Obsesiva / Cesar Reglero / Tarragona-Brasil 2007 poetas por kilometro cuadrado ARTIGA Rv d´Art Contemporani /Chema Madoz, Jordi Erola...




PROYECTOS RECIENTES QUE PUEDES VER EN
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Troublemakers Are Insane - China

Secret Hebron: The School Run - 28-min documentary--To Go to School is a Matter of Life and Death



The ancient city of Hebron, which just a few years ago had a flourishing out door marketplace and is the home to thousands of Palestinians, is now a ghost town. Almost every single shop and business is gone, and during prolonged curfews, only the nearby illegal Israeli settlers are allowed to walk in the streets of the town. Heavily armed, the settlers are accompanied by IDF soldiers who protect the settlers, but do not protect the Palestinians from settlers' attacks.
Since there is nothing there--why do the settlers come into town?
For sport, basically, one may say--to harass, taunt, attack any Palestinian in the wrong place at the wrong time. And if the Palestinian responds in any way--they are set upon by the armed mob and, while the soldiers look on, --anything can happen.
In effect, the residents of Hebron are all "Dead People Walking"--or, for those living inside Israel--"present absentees"--in the legal term for their existence.

In a 1969 BBC interview, Golda Meier famously said "There never was such a thing as a Palestinian."

This Spring an Israeli Minister announced that the Palestinians were in for a Shoa--the Hebrew word for Holocaust.

Forty years of this thinking turns persons into "present absentees"--or what in the USA is called "the Vanishing American Indian." A human being who is present, yet already well on the road to a permanent absence, a kind of flickering presence which at any moment will be extinguished, a spirit which will forever "go out," and like the landscape being systemically destroyed, "never seen again."

For children, going to school means to cross roofs and gutted remains of buildings, at the constant risk of being shot or, at best, arrested. (Among the over 11,000 Palestinians in Israeli prisons are several hundred children, some of whom were born there.)

Despite these conditions, along with the closing of schools and universities, colleges and technical schools by force, despite the dozens of checkpoints thousands of children pass through to reach a school only a few mile away--Palestinian students living in Gaza alone have been awarded over 700 scholarship and fellowship grants for study abroad. Of course, none of these students is allowed to leave Gaza. If Knowledge is Power, it can't be shared with the Occupied peoples.

Recently 7 Palestinians who had been awarded Fulbright Grants to study in the USA were denied exit from Gaza. The Americans announced that the Fulbrights would be withdrawn because these obviously were "absentee" students in the full sense of the word. This, finally, brought the attention of the world to the situation, and after a few days it was decided by the embarassed leaders to allow these 7 alone to leave for their educations.

How they will be received in the US and if they will ever be allowed to go home--no one knows. Just as no one knows if these children will make it to school or not.
Why does the USA support these policies? Why is "democracy" and "freedom" and "liberty" allowed for some people and not for others? Isn't this against everything that supposedly the USA stands for? Aren't all peoples created equal?
Or is it as in George Orwell's Animal Farm, where eventually the equality of the animals was shifted to mean: "All animals are equal, but some are more equal than others."
The US and Israel were allies of South Africa, and Israel supplied the Apartheid regime with military equipment and training, as well as training their Police in the torture techniques employed by the Mossad. (These were also imparted to the Savak, the notorious Secret Police in Iran under the Shah, who had been installed there by a CIA coup.)
And in the US, slavery and the genocide of the indigenous peoples were acceptable policies and used in order to drive ever faster the settlements of the Westward expansions. After slavery was abolished--a century of Jim Crow, and the biggest massacres and deportations of the American Indians.
These miracles were accomplished "naturally." being part of God's Plan and Manifest Destiny. Good, God fearing people massacred and annihilated without a second thought, for these "things" that "stood in the way" were not actually "human."
Savages, terrorists, people without a "history" or "civilization" or "never having had a State"--
As the Final Destination of Manifest Destiny written in the Book of God nears--who after all, will really remember any of these now "absent absentees"?
After all "there never was such a thing"--
With words, all these horrific events can be turned into something else, and they are. "9/11 was the best thing that could have happened for Israel," said Benjamin Netanyahu, former leader essaying a comeback. The War on Terror gives a License to Kill--any thing and anyone that moves, because it might after all be a "Security Threat."
When anyone and anything can be a Threat--why not take the advice of a General sent to kill the Cathars, condemned by the Official Church as an Heretical Sect.
Asked by an aide how one would know who was a Cathar and who not, since it was a Religious difference between people who otherwise "were the same in appearance"--

the General replied, "Kill them all and let God sort them out."


Secure in Knowing that God is on one's side, that one's Destiny is Written in the Book--one goes about slaughtering, imprisoning, torturing, denying every human right that it is possible to deny, along with water, gas, elect5rcity, food, medecine, school supplies and the freedom to budge an inch without being interrogated, beaten, strip searched, humiliated and depersonalized.
And if there are any problems--kill them all-in God's Name--and---let God sort out all these mangled left overs from the tables of dogs and maggots, let God rummage through these disposable "things"--like some kind of obedient dog Himself, or the local butcher dressing up the carcasses of road kill to sell as steaks, those chunks of once possibly human meat which may indeed posses some kind of "soul," that sends a shiver of delighted recognition through the digestive tracts and olfactory organs of the afficianados of The Taste of Death.
yes, kill them all--and toss the scraps to the omnivorous God--
to sort through, like a mad eyed bargain hunter at a yard sale--
(is that any way to treat a God?--
perhaps God, too--can be chucked away--
to fend for Himself in a rabid world--
where killers stalk the empty streets at noon--firing at the shadows of birds or flies--blasting a building whose rusty hinges creak in the dessicated air--blood boiling and lusting for the fresh meat of a still palpitating heart in the breast of a child shot down from a roof--
a new fact emerged this year among the Palestinains killed and wounded "so far"--
the number of children--persons under the age of 18--but more often now under the age of 12--has been greatly increased--meaning that the children are being targeted--
"to nip the terrorists in the bud"---
"to drop the Future Dead in Its Tracks"--
when the Berlin Wall was torn down, "The End of History" was announced--
Now that the Walls are back up with a vengeance in ever more parts of the world--
History is back to repeating itself all over again--