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.

Thursday, March 26, 2009

'Pataphysics & Dada in "avant" USA- &-for Sean Bonney & Frances Kruk--with Asger Jorn on the Religion of Richter's Garden Dwarfs--

“The feelings they (the “neo-dada” avants of the ‘60s) invoke in the beholder’s mind belong on the artistic level of a garden dwarf . . . Uncompromising revolt has been replaced by unconditional adjustment.
--Hans Richer, DADA: Art and Anti-Art

Charles Bernstein: "Dark at End"

Guantanamo: Long View Down the halls--

Jenny Hozer: "Projections" Gallery/Hall (900 yards long)

George Grozs: Dada Death


In Chile under Pinochet, one of the Nations' most illustrious and largely attended literary Salons was held by a Chilean novelist and her American husband, whose work took him often aboard for various legths of time.

It was "discovered" later that beneath this glittering Salon, literally in the basement below the literary games and charades the poets played as they drank and ate well--
beneath the literary Salon was a series of labs and torture chambers, in which many persons were tortured and --disappeared--

The husband was a CIA agent and with his wife charged with the murder of a refugee Chilean Ambassador in Washington DC.

The couple and their Salon are portrayed in the last pages of Roberto Bolano's novella, By Night in Chile

Summer 2008 saw at Coney Island surprised happy visitors with the opportunity to "look inside" an "artist's" Peep Show, in which one could Peep voyeuristically and see a "guard" torturing a "detainee/enemy combatant" in a cell in Guantanamo

The supposed closing of Guantanamo has led to the guards being far more violent and cruel to the detainees than ever before, as well as a huge number of detainees going on hunger strikes bringing them near to the point of death.
If, when, "Gitmo" is actually "closed," it is still wide open, transported to the immense prison being constructed at Baghram Air Base in Afghanistan.
Baghram is where detainees were held and tortured before their rendition flights to Cuba. An unknown number of homicides have been happening here since 2002.
President Obama set everyone's minds at rest, claiming that the USA would "go back" to its old 1960's era field manual for the treatment of prisoners, abandoning the heinous "Bush" methods, which went "beyond, outside of the old manual."
What the President did not mention is that the new edition includes the Bush methods within itself. therefore by a sleight of hand one can say the methods are "gone" while at the same time by simply changing their hiding places in plain site, be using them as "clean old army field manual methods."

The "Global War on Terror" is also to undergo a name change--perhaps to some form of "Contingency Operations"--

Torture, Genocide, the support of Apartheid, unfettered drone attacks--the New Amy of Robotics--

So disparaged a year ago as part of Bush's plans, all the "Evils" are now cheerfully thought "over with" due to changes in names, and changes in places of concealment of those things the old names still describe.

Beneath one's feet the Terror Dromes--the "new underground extreme experimental american poetry and arts,"

What does this have to with Jarry or Dada???----it is an investigation into the ways a country involved in such situations uses language to remake not only the recent past, but to board the Time Machines and begin the weeding out and narrowing down and eradications, shiftings, in the figures, words, images, ideas, methods, which will not disturb the present, so that the past becomes duly and dully a reflection of the present in reverse, and the Future is simply an extension of what is now taken to be "ahead of the curve," thus already dwelling in a Future for which one will have pre-fabricated images of with which to fuel one's "memories" of before it takes place.

To colonize not only Space, but Time, and from there to colonize the "avant-gardes" and "manifestos" of the Past in order to make them become the rear view mirror visions of the Present as it is speeding into the Future which has already been "set up " and "made secure" before one is allowed to enter it.

To use the "deforming" of the "deformations of the past" of things so that they will conform to the definitions of the present, is a form of "radical" and eradicating erasure and re-writing in which al that has been is discovered to be exactly what one is made to think that it was.

An imperial Power, Karl Rove told the momentarily stunned group in some secret bunker of Decision--"I am the Decider" after all--in the Valley of Decision-- an Imperial Power does not "deal with reality," Dr Karl said, oh no--what it does is CREATE REALITY."

Creating Reality does not have to do with "facts, events, sites" on the ground, but instead with the fabrications of "Opaque Artifice," that stealth bomber cloaked "art" with which one "magically" transforms a twice forged "Italian Letter," combining it with a fake "informer" who provides information that is "verified by finding it on line"--(which is where the information came from the first place)--and so creating the Monster of Saddam's WMD--hot on the heels of Osama bin Missing--

"The avant-garde" of Imperialism finds its new forms in this meeting of the "art/literary" techniques of forgery, virtual reality manipulations, cryptic memos, altered video and audio tapes, the Creation of entirely faked events which replayed over and over become not only "Real" but "True," to "set up" the next invasions, as though preparing for the
"Next Big thing" at the art/fashion/poetry events where a highly ensconced "avantist" is dedicating much of his life and writing to a Fashion Runway Show.

If persons endowed with Imperial Creativity can magically "Change" everything overnight that the preceding Creators had Magically Created "wrongly," also, then how much simpler is it not to "Change" overnight the "Creative" "avant-gardes of foreign pasts" into something "New" and "Radically Challenging to the Establishment View"--
creating the spectre of a new form of "resistance" constructed out of the renaming and rehiding of objects and words so that what they stood for wil magically become irrepressibly New and so be discovered not by whoever it was, but on the contrary, become the Invention of American Ingenuity--
which likewise Invents the Past which so magically is Invented Now all over again, so as not to repeat any one else's mistakes--

Thus, new and improved, "made much safer to use"--one becomes lost in the headiness of the discoveries going on al around of things which have been conveniently disappeared so as to be able to reappear "looking ever so much better"!--

(Invasion of the Body Snatchers . . . )

for Sean Bonney & Frances Kruk

this "foto/painting/rubBEing/woodcuts/essay"

is moving in reverse--
that is, personas and examples mentioned in the essay section are displayed "ahead of time" in the Time Traveling section beginning here

“The feelings they (the “neo-dada” avants of the ‘60s) invoke in the beholder’s mind belong on the artistic level of a garden dwarf . . . Uncompromising revolt has been replaced by unconditional adjustment.
--Hans Richer, DADA: Art and Anti-Art

These (waterboardings) are the procedures used on the 15th Century French poet Francois Villon. In the early 21st Century, the USA produced its first truly Extreme Experimental Poetry -- the military-censored Poems from Guantanamo, writing produced by tortured detainees held as "enemy combatants" in a War on Terror based on among other things, the "16 words" of the forged "Italian Letter" and the transcribed ravings of a desperate alcoholic would-be Iraqi immigrant to Germany.

This new Waterboarding Extreme Experimental Poetry (WEEP) permits the USA to accomplish something dazzling: not only to forge into the Unknown of the 21st Century, but to simultaneously travel into the period of the 15th century just prior to and including Columbus' "Discovery of the new World." By opening the Future of American poetry, America has also been able to reverse the colonization process and begin to establish "outposts" in 15th Century Europe, and so, beating Europe to the punch, "Discover the Old World" prior to its discovering of the "New."

--david chirot from
David-Baptiste Chirot // Word For/Word: A Journal of New Writing ...

Francois Villon & the New Extreme Experimental American Poetry
. - 24k

David Chirot from ongoing series "Death from this Window"

Alfred JARRY: woodcuts made/designed by him

by Alfred Jarry

v. Time as seen from the Machine

It is worth noting that the machine has two Pasts: the past anterior to our own present, what we might call the real past; and the past created by the Machine , when it returns to our Present and which is in effect the reversibility of the Future . . .

From the operation of the Machine there can easily be deduced a definition of Duration. Since it consists in the reduction of t to Otand of 0 to t, we shall say:

Duration is the transformation of a succession into a reversion.

In other words:

Ste Jeanne d'Arc
burned at the stake the year Francois Villon was born, in Paris

16th Century images for Villon's Works; here "La Ballade des Pendus"-
Ballad of the Hanged

Henri Rousseau: Child with Puppet
The Puppet & Marionette Theaters--les Guignols--ones mainly for children-- influenced Jarry's conceptions of Ubu and of himself, as the Marionette/Puppet may be viewed as a step along the way towards becoming a machine, which Jarry mimiced by adopting a "mechanical voice" that one friend wrote sounded like a nutcracker going full blast.

With the Marionette/Machine interface--who is the one in charge?--Or do they smoothly merge into being "someone/something else," as Jarry himself "appaeared" to be "disappearing" inside the new Ubuesque being he constructed daily for himself to fit and live inside, as he chose an apartment that was on a half-floor--between two floors-so tiny he could barely move his small frame with in it.

Henri Rousseau's--Self-Portrait
Rousseau claimed to have invented a new form of painting, the "Landscape Portrait." First, one chose a background to paint, preferably some place that the painter liked for one reason or another.
After the background had been achieved, it was time to add on to it, in the "foreground," the often perspectively out of synch Portrait.

Rousseau's creating a "Portrait-Landscape" of two distinctly different genres of painting,(landscape and portrait) creates an off-base imaginary, "unreal," space in which the foregrounded Portrait exists in a landscape it often has never seen, or if it had been seen, had more to do with Rousseau's taste then any preference of the model.

This disjunction
, a form of "naive surrealism" ahead of time, is perhaps one of the aspects of his work which led Rousseau to say to Picasso:
"We are the two great painters of our epoch. You in the Egyptian Style and I in the Modern."

Henri Rousseau and Alfred Jarry shared a hometown, Laval, which gave a kind of mutual sympathy to their friendship. Jarry wrote one of the first good reviews Rousseau received,of his painting WAR, and Rousseau responded by painting Jarry's portrait. Jarry hated the portrait so much he destroyed it. Jarry reportedly gave Rousseau his famous nickname, title of Le Douanier the Customs Officer, rather than the toll officer the painter actually had been.


Journal founded and edited by Jarry; appearing in March & June, 1896

About the Perhinderion
Jarry's journal, Perhinderion, appeared only in two fascicles, in March and June, 1896, and it is evident that Jarry exhausted his inheritance on this ambitious project. Perhinderion was a lavish elaboration of L'Ymagier's dedication to reproducing old and unusual prints (predominantly woodcuts) and Images d'Épinal. It also includes lithographs by Émile Bernard that are clearly inspired by popular devotional woodcuts. Jarry stated his intentions clearly at the end of the first fascicle in his short article "The First Bell at Mass."

Translation of the Text
Perhinderion is a Breton word meaning "Pardon" in the sense of a Pilgrimage. As in the public squares surrounded by a slope at the foot of sanctuaries, peddlers come at the appointed dates, six times a year at Perhinderion, with rare images at their fingertips, reviving old prints or bringing new ones to light.

The reproductions of old plates are photoengraved from the originals without any reduction in scale, and, in the normal edition, they are printed on laid paper similar to old papers.

Beautiful fifteenth-century characters have been recovered for us, with abbreviated letters which we only give a partial example of in our two chapters of Sébastien Munster but which will be cast with more care and will be specially featured beginning with fascicle II.

The woodcuts by Georgin, published for a century at Épinal, have been furnished or restored by the firm of Pellerin & Co. especially for Perhinderion. Our format makes it possible to avoid folding the images.

We will present the entire oeuvre of Albrecht Dürer, plate by plate, and particularly the Large Passion, beginning with Christ Presented to the People.


In literally binding together Dürer, Georgin, Münster's Cosmographia, and Bernard (to take the second fascicle as an example), Jarry erodes the barriers that might normally separate an array of complementary opposites or near opposites: renaissance and the fin-de-siècle, intellectual and naïve, famous and anonymous, cherished and ephemeral, valuable and affordable, popular prints and "fine" prints. Finally, in giving a highly evocative reading of Dürer's woodcut, Saint Catherine, a reading that is essentially a symbolist poem that moves from emblems and formal elements to hallucinatory extrapolations, Jarry demonstrates his ability to tap the vitality of an old print and turn it toward a new purpose.

was a Symbolist journal run by one of the most influential figures in Jarry's work and life--Remy de Gourmont.

Woodcut illustration for Savonarola's Predica dellarte del ben morire
(Florence, 1496)
L'Ymagier II
(January 1895)
Page 107

Predica dellarte del ben morire--the art of dying well

The sermon of the influential Dominican preacher Savonarola on the art of dying well, delivered on November 2, 1496, took up an old theme during an anxious time. What was innovative about the friar's approach to his subject was his insistence on the importance of images to make the reality of death more vivid. In the course of the sermon, he described three pictures that the audience should keep in their bedrooms and contemplate each morning when they awoke. In order to ensure the accessibility of these images to the public at large, many of whom could not afford paintings, Savonarola urged (while preaching on November 27, 1496) that his sermon on the art of dying be put into print and that it be accompanied by woodcuts of the three images he had described.
Savanarola's text is re "the death of art"--he was respsonsible for the famous destruction of art works in Florence, and the bonfire burnings of books uable to pass the rigors he imposed on them to qualify.
Bartleby, the Scrivener: A Story of Wall-street

Herman Melville--1853

I AM a rather elderly man. The nature of my avocations for the last thirty years has brought me into more than ordinary contact with what would seem an interesting and somewhat singular set of men, of whom as yet nothing that I know of has ever been written:— . . .
While of other law-copyists I might write the complete life, of Bartleby nothing of that sort can be done. I believe that no materials exist for a full and satisfactory biography of this man. It is an irreparable loss to literature. Bartleby was one of those beings of whom nothing is ascertainable, except from the original sources, and in his case those are very small. What my own astonished eyes saw of Bartleby, that is all I know of him, except, indeed, one vague report which will appear in the sequel.

Alfred Jarry: cover for the "Song of the Debrainers"--1898-

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Hugo Ball--1916--in Cubist Costume to deliver his First Dada Manifesto

Il Maestro, Fondatore di PAROLE IN LIBERACE

The Mass Produced, Commercialized Cultism of Religious Relics & Shrines intersects with "l'avanguardia" of le PAROLE IN LIBERACE as an Homage Avant la Lettre both to "The Grand Piano" texts of today's "collective autobiography" and to the power of a "Religious Transformation" of the Avant-Garde into Kitsch Relics and Garden Dwarfs.

Asger Jorn in 1961

Asger Jorn: TROLL --1959

Asger Jorn: DISQUIETING DUCK--1960


See also this post from 23/1/09:

Friday, January 23, 2009
The "Avantism" of Garden Dwarfs--Kenny G on the Harriet Blog

'Pataphysics Dada in "avant" USA- &-for Sean Bonney & Frances Kruk--with Asger Jorn on the Religion of Richter's Garden Dwarfs--

The first "official" introduction of 'Pataphysics to the North American audience/readers may (or not) be seen as Evergreen Review Issue 13, May/June 1960, with a spiral and the words "What is 'Pataphysics" suspended in the “equivalent” of a foto dipped in green (“evergreen”) of Jarry aboard one of his personal manias, his beloved bicycle, heading down the street, away from the camera, into that Futurity which the present is the “becoming memory” of.

Following an Intro by Roger Shattuck, there's an excellent selections of works from Alphonse Allais, Leon-Paul Fargue, Torma, Rene Clair, Rene Dumal and Felix Feneon (a friend of Jarry's) to the then contemporary "Satraps" of the French College du 'Pataphysique" such as Vian, Butor, Queneau, Ionesco,.

A year later, reflecting on this event and its effects in North America, Asger Jorn, the Danish artist, ground breaking investigator of Scandinavian arts and for some years Situationist, penned a piece for “Internationale Situationniste” No. 6, August 1961 called ”Pataphysics—A Religion in the Making.”

Jorn writes:
It is only recently that the religious content of Pataphysics has become apparent. Prior to this development, Jarry's invention remained largely unknown beyond the small circle who published the esoteric Cahiers du College de Pataphysique. But all this changed when a special Pataphysical number of the Evergreen Review was published in New York.
Although the Americans have now claimed the honour of presenting Pataphysics to the world, they didn't dare mention the word religion in their journal. Nevertheless, the enormous success Pataphysics enjoyed last year among the New World intelligentsia has inaugurated an epoch in which the essentially religious nature of this phenomena will be carefully analysed

Recently re-reading some of Jarry’s essays and fictions re ‘Pataphyisics, two things really struck me. One is that Jarry’s ‘Pataphysical compilations, Almanachs, woodcuts, all owe a great deal to the medieval period, and specifically to the spirit of Rabelais and Villon. In Rabelais, there is the mocking of both science and religion which go on unabated, as well as the production of a ceaselessly teeming, transmuting and truly “exceptional” cosmos, in which the sizes and shapes of everything are subject to immense and swift adjustments to indeed “Situations.” Rabelais spoofs and distorts and disgorges the scientific and religious languages of his time, a crazy quilt “polygut” of half digested Latin and the wildly free and raucous French of the times, itself at the thresholds of the strangling codifications soon eno9ugh to appear.
And in Rabelais, as in Jarry—let us not forget the “exceptional” role that Flatulence plays!! The “inflation “ of language is measured along side its accompaniment, that inflating of the human bowels which results in the production of an inflation with finds its mode of expression via an orifice of the human anatomy which seeks to equal that of the mouth in volume and expressiveness.
There are also, as in Villon, the predilection for the machines and images of executions, with Jarry sharing Villon’s words almost exactly apropos hanging, and adding himself the modern Guillotine to the scenes of the functions of separating the body from the head from which it itself is seen as “hanging from” previous to their union being rent asunder.
There is also the example of Flaubert’s Bouvard et Pecuchet, which presents the adventures of two copy-clerks who, unlike Bartleby the Scrivener, are able due to an inheritance to leave their desk and purchase an immense country estate, which wins them no welcome from the local inhabitants. These two former copiers set about exploring the branches of knowledge which compose the arts and sciences, and in almost every case run aground on the beaches of their own persistent ignorance.
On their way to this pessimistic view of the acquisition and accumulation of knowledge, the duo decide to turn their heads and hands instead to compiling a “Dictionary of Received Ideas,” collecting al the stupid quotes manifesting the “unexceptional”: (in Jarry’s terms) presented as something “exceptional,” which provide insights in to the questions of all facets of life These “received ideas,” unquestioned and in a sense almost invisible until compiled as an actual “set” within genres and categories of thought and language, create a form of “anti-Encyclopedia, “ in which the Encyclopedic aspirations of the 18th century are turned on their heads as “fauxk-wisdom,” of the kind massively generated by the new industrialized media of the “Age of Progress.”
A few decades earlier, Baudelaire had written of his hope to produce lines which would become clichés. The “true test” of the poet’s work would be to vanish into this sea of “received ideas,” which ironically is the very environment that would reject the poet’s “exceptional” language, or, perhaps, this vast sea might instead engulf the poem in a vast moist embrace in which it would also vanish, and become “unrecognized” because “misunderstood” as the only way by which it might attain a paradoxical “recognition” by becoming “unrecognizable” due to misunderstandings, and so—

“Taken for something else,” continue a free and camouflaged existence, unnoticed, unread, unseen, unknown, by attaching itself to the “obvious,” and so become “hidden in plain sight.”

That is, to be read, seen and known as the “obvious,” and so “overlooked,” because of course, things in order to be Important, have to be far more complex than “That.”

This is the strategy, after all, of the Viceroy butterfly, which so resembles a Monarch, that no enemy will attack it; because the Monarch possesses a poison that kills those who try to eat it, and so acts as a “deterrence” that the Viceroy copies in terms solely of “appearance.”

“Looks can be deceiving,” after all, and so “one person’s meat is another’s poison,” becomes a meat that all comers take to be a poison when it is actually a meat mimicking the costuming of the poisonous one.

The equivalence of the poisonous and the non-poisonous both appearing as the poisonous, becomes that ‘Pataphysical “exception,” that pebble in the shoe that grinds and grinds away, destroying the edifice of the Very Important Person whose foot is continually stepping on it, and so becomes a form of “resistance” which understands full well that clichéd phrase, “the Bigger they are, the Harder they Fall.”

Jarry’s Pere Ubu and Dr Faustroll and the vision of ‘Pataphysics were born from the cunning of schoolboys satirizing a Physics teacher at their lycee, and turning these satires and their objects into Theater and the discovery that “as Metaphysic is to Physics, so ‘Pataphysics is to Metaphysics.”
Ubu and ‘Pataphysics are born out of a satirizing, inverting, and subverting of the Institutionalized forms and formulae of “knowledge” which a citizen bent on a “career” is forced to undergo. Where the French College du ‘Pataphysique (revived, after a quarter century of dormancy, in 2000) and its recently formed English rough equivalent, equivalency being at the “heart of the matter,” differ from the North American “Pataphysics,” is, as Jorn foresees, its being turned back into an Institutionalized form and formulae which take on the rites and trappings of a new form of religion.
One might then observe that the ideas and characters born of the immediate “wreck-creations” and absurd comedies of the classroom, the satires of the “Professor,” and of the entire sets of Jargons, discourses, that have been erected to produce both an elite and a “common” mass” of students of the “same mind,” of the same mind, that is, regarding the Seriousness of their Placements and Advancements within the Structures of Society’s various Institutions; one might observe in this that the originary “scene” of Ubu in opposition to all of these, is turned inside out and becomes again the very site of the production of a conformity.

This is the situation which Jorn presents:

“If Pataphysics had been taught anonymously, and avoided criticism, it might have slipped unnoticed into the world. Had this had happened, the apparently insoluble problem of Pataphysical authority - the consecration of the inconsecratable - would not have occurred. “

That is, if ‘Pataphysics had indeed flown into the world as the Viceroy, camouflaged and whose recognition was a form of misreading, misunderstanding and hence “unrecognizablity,” ‘Pataphysics would have eluded the confrontation with the Authorities of the Institutional “Authorizations,” who strip away an unrecognized anonymity, a camouflaged misreading misunderstood and too obvious to notice, and instead set up in their absences the presence of their own Authorships.

This situation which Jorn presents is somewhat similar to another one being written of at roughly the same time—the situation of the “Garden Dwarfs” as Hans Richter calls them in his Dada: Art and Anti Art. The “Garden dwarfs” are the neo-Dadas, who in a sense obey the letter but not the spirit of the Law, a Law which did not exist until they had retrospectively “recognized” its existence and so initiated a trend that in recent years has become the falsification of Dada in the US textbooks and Institutions with their ensuing cult of Tzara, the least interesting and least Dada of them all, who turned promotion of a borrowed name and movement into a one man show starring himself, and continued on like an animated corpse long after the Dadas had all left, finding himself finally cornered in the company of the emerging Surrealists—co-founding with Andre Breton the journal “Literature,” the very anti-thesis of the Hugo Ball-named “Dada”-- with whom he participated in and celebrated Dada’s “funeral.

For Richter, Huelsenbeck and other Dadas, the accomplishment of Tzara is to eradicate any of the “Revolutionary” and “street” elements in Dada, and instead produce a series of literary “manifestos” which lead straight to the heart of the matter for him: “Literature.”

(As Henry Miller put it in the “Fourteenth Ward” section in Black Spring: “What is not in the open street is false, derived that is to say, literature.”)

This retrospective revisioning, reformulating and re-fashioning of Dada—and of Neo-Dada and the Garden Dwarfs - in order to have it conform better to the current situation and narrative of the poet/artist in the US, Jorn recognizes also as a crisis within ‘Pataphysics:

The great merit of pataphysics is to have confirmed that there is no metaphysical justification for forcing everybody to believe in the same absurdity, possibilities for the absurd and in art are legion. The only logical deduction that can be made from this principle is the anarchist thesis: to each his own absurdities. The negation of this principle is expressed in the legal power of the state, which forces all citizens to submit to an identical set of political absurdities.
It must by now be apparent that once a Pataphysical authority is accepted, it becomes a demagogic weapon against the Pataphysical spirit
The game is the Pataphysical overture to the world. The realisation of such games is the creation of situations. A crisis therefore exists, caused by the crucial problem which each Pataphysical adept must resolve: s/he must apply the situlogic method and attack the conditions of the reigning society, or else simply refuse to do anything whatsoever about the situation. It is in the latter resolution to this problem that Pataphysics becomes the religion best adapted to life in the society of the spectacle: a religion of passivity and pure absence

This “religion of passivity” adapted to the life of the society of the spectacle may be found today in the latest “hot topics” of the ongoing entropy of an Institutionalized setting, which for Melville’s Bartleby was to be found on Wall Street, where the Scrivener states his “I would prefer not to” continue copying, and eventually finds himself in the Tombs, perversely observed and studied by his former employer, a lawyer in the service of the Market. The entropy of a “case” as seemingly “passive” as Bartleby's is found in the “conceptual works” which dedicate themselves to “copying, data filing, and boredom-,” the latter being regarded by artists from Baudelaire to the Dadas to Dubuffet and beyond as the “enemy of art.” Or “the enemy of existence.”

The religious aspect of boredom Baudelaire called “Acedie, la maladie des moines.”
Acedia—the malady of monks.

And monks, to be sure, of some denominations, were known to be “copyists,” some of whom, anonymously, created some among the most beautiful Visual Poetry and Book Art known in the West.

Perhaps the situation of today’s poets who are dependent on machines and others’ materials to copy or “flarf,”or “pataphysic” or “Ouliper” or “Vizpoize” or “avant”are spurred on by the lashes of the command to “publish or perish.”
In Enrique Villa-Matas’ Bartleby and Company, one encounters the opposite of this need and desire to “appear in print,” no matter what it is or in what form. This suggests the resurrection of the last minute plagiarized paper as a “radical form of discourse” to be explored in terms ethical, aesthetical and pros ethical. Plagiarizing, copying, filing, scanning the unbelievable torrents of spam-- all of it a celebration of one’s own “original” unoriginality in “facing this monster,” which is—as Baudelaire put it, the horror of the ‘”gouffre,” that immense chasm of boredom, dullness and nothingness into which the author of today may tumble, never to be seen or heard from again, returned to the anonymity of being “not published “or “out of print.”

This is yet another “crisis” facing the author expected to publish, to “make a name for her/himself and their Institution,” or Group, Movement, Brand Name etc—

To at once announce one’s unoriginality, yet to do so in a manner originally unoriginal, from some as yet unplundered source, inspired by some previously hopelessly obscure or obscene and overlooked author, and so to put a stamp on one’s productions which is said to a once proclaim the author and to be arguing against the author.

This desperate need to produce writing, even if it is borrowed, stolen, downloaded, copied by hand, purchased on line or from the super market of literary products and accessories, where the laughter of Il Professore Vidiamodopo may be heard echoing down the aisles of prominently visible poets whose shining presences dim even the gaudiest of packaging’s—

This desperate need to produce—and yet at the same with the least amount of intellectual labor—that being replaced by the physical labor of the copying filing and being originally unoriginal—all of it the opposite of the Writing of the No, of Bartleby’s “I prefer not to,” or the unwritten non writing camouflaged inside the misread and misunderstood—

The terrible fear driving the horses to go “faster, faster, faster” as Walt Whitman saw America dashing to insanity—

This terrible fear of the non-existence, le Neant, le Gouffre—
Can be summed up in a sign found in the battered offices for various services of the Health and Welfare departments, as well as those were free legal counsel or financial advice may be given:

This sign sums it up: “If it is not in writing, it never happened.”

Perhaps ‘Pataphysics may propose as an exception the happening of something which is unwritten, and so, logically, inferred to be, to remain, unwritten—and hence never having happened,--and yet, it has happened--
A happening beyond the bounds of the written, in a zone one aspect of which Whitman called “the real war will never get into the books.”

In that case, then, one may understand a ‘Pataphysical writing outside of books, pages, of being written down—existing as both happening and writing simultaneously, and al the while remaining “buried,” hidden from the view of those writings which do get into books.

Existing as an unseen, unrecognized, unpublished as it were, Viceroy, hidden within the gaudy show of the poisonous Monarch, a harmless being concealed inside a killer, an inverse Trojan Horse, an exception to the writing that alone produces what happens, because, by not writing, by not copying, but simply “resembling in appearance” a form of writing known as the Monarch, it is happening unread, unrecognized, unwritten, and ‘Pataphysically existing—

And without which there could not be, by its unrecognition, its being anonymous, unknown, its being so obvious it is overlooked—there could not be that author, that authority, that authorization, in whose recognition by its “standing out against a background,” would be seen that presence which is called “writing.” An “evidence of something that happened.”

Even if what happened might be completely fictitious, or an outright lie--

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