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
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
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... - # 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 ... - 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

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453


Cost of War in Iraq


Cost of War in Afghanistan

The cost in your community

flickr: DEATH FROM THIS WINDOW/DOORS OF GUANTANAMO--Essays, Links, Video-- US use of Torture

VISUAL POETRY/MAIL ART CALL Cracking World’s Walls & Codes Concrete & Virtual

Cracking World’s Walls & Codes Concrete & Virtual

No Sieges, Tortures, Starvation & Surveillance
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.

The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)

I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Sunday, March 22, 2009

David Chirot : Making the Visual Poetry Endpapers for the Spidertangle Anthology

Some Site/Sight/Cite work areas mentioned in the notes below

Miekal And invited me to do the end papers for a then forthcoming Anthology made up of Visual Poetry by members of the E-list named Spidertangle, which is primarily persons who work in areas verbal; visual, vocal and video in making their own personal forms of Visual Poetry.

I was excited and honored to be invited to this project, so set to work outside right away. As you can see in the pieces below, among the possibilities I thought of were the spider-like forms one finds in the wood grains of telephone poles. I've worked with telephone poles for ten years now, finding faces in them and all sorts of Hidden in Plain Site/Sight/Cite notations, created by the wood grains in conjunction with the weather through many years.

I get a kick out of working with the telephone poles because they are literally involved in the transmissions of Communications, and so these communications found on the poles themselves present a counter point to the voices, images, information being sent via the lines and cables.

These notations may be performed, used as Visual Scores for Sound Poetry, and so create an entirely different form of communication than those speeding by on the cables overhead, some of which have wise crows seated on them to better survey the alleys and yards for signs of things shiny to decorate their nests, or things edible--or rival birds to attack.

Working outdoors like this there are also all around one the sounds of humans and machines and insects and birds passing, the shifts in the air, the directions and speeds of the breezes and winds, and the various scent as one moves along often in proximity to some mighty dumpster or little row of garbage containers.

All these living elements participate in the making of the pieces, contribute to them, and I only one among the many that in them emerge.

Finding faces in the telephone poles lead to my calling my work with rubbings "rubBEings," because for me all that emerges in these works are signs and sounds and scents of BEings existing right alongside one and others passing by.

Now a telephone pole also has an extra interesting dimension in that it is human made, yet still retains so much of its "wild nature" in its grains and colorings, agings and weatherings. They are liminal BEings these telephone poles, being of both the human and wild worlds simultaneously--and more than that, transmitting both human and natural communications.

As I worked on the pieces from the poles, another idea arose in my mind, which was to cut into wood a spider with the word tangle on its back, and the spider would be moving among many different landscapes of forms. These forms began with the piece of wood I used,which had already been slashed with a quick passage of the hand held tool across its surface without descending to any but a barely below the surface depth, creating lines in an arbitrary patterning, as I just let the first lines indicate where the next would go. The actual carving of the letters takes some time. though making a spider is pretty quick, incising in the wood with various tools found in the streets and alleys over the years.

This carving I do outdoors and inside also, both on newly found wood to work with, and ones I have had for a while for the purpose. Some kinds of wood are of course much more obdurate than others, so sometimes one is making what appears to passersby to be violent and dangerous, a man in black plunging a glimpsed sharp tool into something--

Some souls more timid than others need to be reassured one is not stabbing some person or animal, but another sort of being , the wood, and that it is not stabbing at all but carving of a rudimentary kind.

Some of the pieces here were exposed on afternoon to a quick little shower and burst of breezes that swept over the slightly dampened paper fine mists of street dusts, creating a very thin patina of very small particles of al manner of things, though primarily the grit and sand of the adjacent battered driveway to a parking shack behind the block of stores, a site I have worked at for years and at that time really loaded with no end of exciting materials due to the presence of all manner of machines with excellent letterings and numbers on their immense tires.

So a couple pieces here along with the dust/sand patina have also the traces of grit which are scattered across the surfaces of the tires.

I really miss that construction site that is now a parking lot, and the old gargae shack like long building in whose empty interiors I would work in bad wetaher, snow, rain and the truly biting winds of subzero temperatures at times

Again, no mater where one works inside as well as out, anything may come along and join in the making of the pieces. The extreme cold affects the crayons and clay I work as they get very hard indeed, almost intractable, and one's hands in a like condition moving about in the winds to find and work with the lines and blotches and numerals disappearing in the drift of snows or the rundown of rain waters, or in doors--the continual interruptions of all sorts of person by so many means electronic telephonic verbally and immensely present.

These indoor conditions create their own kinds of affects simply by putting demands on one's attention and the movements of the hands with crayon--

in a sense, though one does not "see it," there are in these pieces a score made of the notations of interruptions, which act in the piece as much as any other element.

What i like a lot working with rubBEings and clay impression spray paintings is the esp with the rubBEings--the presence of absence is present in the pieces.

That is the areas between the lines, these "blank empty spaces" which are the "framework as it were for the emergence of the black "filled in" areas.

One could easily reverse a this and I have--
so it's the white that emerges--

It's very important to me to recognize and include these "empty spaces" as they are --many things that come to mind via allusions and associations--

Some time ago I began calling for no particular reason these works verbal visual sonic visceral--as they are employing the activity of the physical hands, the body and so are intensely "felt" and Haptic works as well as ones seen and heard.

The telephone poles "call to me" as a joke on the way i hear objects colors forms call to me--and follow the calling as often it is to something I have yet to see directly, and exists around a corner under foliage or on the far peripheries of the bounds of the mighty world--

As one of the pieces says, via wordings on a tire and a machine part--, "the spirit of innovation"--
as a fun kind of play back on that sometimes overused to the point of nearing the unendurable corny sounding American PR phrase--

yet also it means something special and actual when its participation is in the context of Spidertangle, as it is the spirit of innovation one finds there--

and i would say also--for my part to be sure-
"tonight we improvise"as Pirandello says

for me it's always that particular night, no matter the time--
because the one way to keep on in this way of working is as i hope to have shown--to improvise with the moment the materials the mystery--

to dance and sing with telephone poles and their shadows--
or any material one is working with --
to vanish the Blues if possible
to get away from so many other things calling--
and listen to voices which emerge continually from the ground and sky and waters--
why not!

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