CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine called
Chirot Zero Zine A Heap of Rubble--
Anarkeyology of hand eye ear notations
---
http://chirotzerozine.blogspot.com
the blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.com
as with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrow
as with al my blogs--
contributions in any language are welcome

Free Leonard Peltier

Free Leonard Peltier
The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

Injustice Continues: Leonard Peltier Again Denied Parole

# Injustice continues: Leonard Peltier denied parole‎ - By Mahtowin A wave of outrage swept the progressive community worldwide at the news that Native political prisoner Leonard Peltier was denied parole on Aug. ... Workers World - 2 related articles » US denies parole to American Indian activist Leonard Peltier‎ - AFP - 312 related articles » # Free Leonard Peltier 2009 PRISON WRITINGS...My Life Is My Sun Dance Leonard Peltier © 1999. # Prison Writings: My Life Is My Sun Dance - by Leonard Peltier, Harvey Arden - 2000 - Biography & Autobiography - 272 pages Edited by Harvey Arden, with an Introduction by Chief Arvol Looking Horse, and a Preface by former Attorney General Ramsey Clark. In 1977, Leonard Peltier... books.google.com/books?isbn=0312263805... - # Leonard Peltier, American Indian Activist, Denied Parole And Won't ... Aug 21, 2009 ... BISMARCK, ND — American Indian activist Leonard Peltier, imprisoned since 1977 for the deaths of two FBI agents, has been denied parole ... www.huffingtonpost.com/.../leonard-peltier-american_n_265764.html - Cached - Similar - #

Gaza--War Crime: Collective Punishment of 1.5 Million Persons--Recognized as "The World's Largest Concentration Camp"

Number of Iraquis Killed Since USA 2003 Invasion began

Just Foreign Policy Iraqi Death Estimator

US & International Personnel losses in Iraq &Afghanistan; Costs of the 2 Wars to US


Number of U.S. Military Personnel Sacrificed (Officially acknowledged) In America's War On Iraq: 4,667
icasualties.org/oif/

Number Of International Occupation Force Troops Slaughtered In Afghanistan : 1,453
http://icasualties.org/oef/


=

Cost of War in Iraq

$691,188,637,164

Cost of War in Afghanistan
$229,137,844,021

The cost in your community

www.nationalpriorities.org/index.php?option=com_wrapper&Itemid=182

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

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

Cracking World’s Walls & Codes Concrete & Virtual


VISUAL POETRY/MAIL ART CALL
No Sieges, Tortures, Starvation & Surveillance
GAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE
Deadline/Fecha Limite: SinsLimite/ongoing
Size: No limit/Sin Limite
No Limit on Number of Works sent
No Limit on Number of Times New Works Are Sent
Documentation: on my blog
http://davidbaptistechirot.blogspot.com
Addresses: david.chirot@gmail.com
David Baptiste Chirot
740 N 29 #108
Milwaukee, WI 53208
USA

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



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


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

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


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

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

Saturday, January 16, 2010

DBChirot sent you a video: "more 13th Floor Elevators"

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'I'm Down'
Another shot from the summer of '66
© 2009 YouTube, LLC
901 Cherry Ave, San Bruno, CA 94066

DBChirot sent you a video: "13th floor elevators - you really got me (the kinks cover)"

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© 2009 YouTube, LLC
901 Cherry Ave, San Bruno, CA 94066

DBChirot sent you a video: "13th Floor Elevators - Gloria"

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my favorite version of the Them (w/Van Morrison) classic-
© 2009 YouTube, LLC
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NY Times: At Sotheby’s, Tracing the Lives Behind the Letters

Exhibition Review | James S. Copley Library at Sotheby's

At Sotheby's, Tracing the Lives Behind the Letters

Published: January 15, 2010
What is more moving: the meaning of important words or the trace left by their formulation, the sense of a precious document or the lines of ink that convey it? Does it matter, for example, that until next Saturday at Sotheby's it is possible to look at the 1862 message in which Abraham Lincoln wrote to his dilatory Civil War general, George B. McClellan, urging him to take action? Or that we can read letters in which Benedict Arnold seems to be making a few too many excuses for himself during the Revolutionary War?

Sotheby's

The James S. Copley Library at Sotheby's contains, among other artifacts, George Washington's presentation of a medal to Anthony Wayne.

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ArtsBeat
ArtsBeat

The latest on the arts, coverage of live events, critical reviews, multimedia extravaganzas and much more. Join the discussion.

Chang W. Lee/The New York Times

Elizabeth Muller, vice president of Sotheby's books and manuscript department.

Sotheby's

From left, portraits of George Washington and James S. Copley, and one of a few surviving broadside editions of the Declaration of Independence.

Sotheby's

Lincoln's message to George B. McClellan.

Chang W. Lee/The New York Times

George Washington's copy of "The Beauties of Swift."

Why does George Washington's signature on the title page of a collection of writings by Jonathan Swift make a difference? Or the handwritten German manuscript of a 1932 lecture by Albert Einstein? Why should we peer into display cases to decipher a brief note from Harriet Beecher Stowe? Or to see Mark Twain's miniature tantrum to his publisher? ("Charley, your proof-reader is an idiot; & not only an idiot, but blind; & not only blind, but partly dead.")
We look (and labor while looking) for the same reason the collector of so many of these marvels collected them, because these letters, manuscripts, early printings and paintings ground American and literary history in their human origins. King George III once affixed his seal to these sheets; Walt Whitman sat with a small piece of note paper briefly commenting to his mother about the progress of the Civil War; and during the Constitutional Convention — at least until he withdrew in protest — the New York delegate, John Lansing Jr., sat in Philadelphia, filling these pages with his notes.
There are more than 150 artifacts on display here, serving as a preview for the sale of the astonishing collection of James S. Copley in a series of eight auctions extending to April 2011. Mr. Copley, who died at 57 in 1973, was the son of a newspaper publisher, who expanded his inherited empire to include chains of newspapers in Illinois and Southern California, with its flagship papers in San Diego.
He began collecting seriously less than a decade before his death, using a Copley executive named Richard Reilly as his curator and scout. The two put together a documentary survey of the American past, a collection that continued, like the Copley empire, under the direction of his widow, Helen Kinney Copley, who died at 81 in 2004. She dedicated a library building in La Jolla, Calif., in 1982 to hold the collection. It is now being sold by the Copley Press, the corporation that owns the library and collection.
That collection, which includes about 2,000 items, has been valued at more than $15 million. It includes extensive documents from the Revolutionary period, with significant collections relating to John Adams, Thomas Jefferson and Washington
There are also documents reflecting the British perspective on the Revolution, including an archive of papers and correspondence of Henry Strachey, who had been sent here by the king to restore peace in the colonies, but arrived just as a new nation's independence was being declared; he later took part in the negotiations that brought the Revolution to its end. The collection extends into the 20th century with letters sent by Dwight D. Eisenhower to his wife during World War II.
Copley also began expanding his collection into literary manuscripts and letters, including a significant cache of Mark Twain documents (among them an as yet unpublished memoir, "A Family Sketch"), along with letters and writings of Emily Dickinson, F. Scott Fitzgerald, T. S. Eliot and others.
In Sotheby's sampling this week, which is meant to stir collecting appetites (and draw in viewers from other antiques and Americana sales now taking place), there are also examples of less significant musical documents (like 26 bars of George Gershwin's manuscript of "Clap Yo' Hands," dated November 1926.
The history documents occupy one gallery here, the literary another. (I didn't see the label text.) There is, at first, an impression of miscellany: the collection includes a section of a rafter from the hospital used during the Valley Forge encampment by Washington, as well as a bent hickory wood chair from the newspaper offices of The Sangamon Journal in Springfield, Ill., a chair in which Lincoln probably had occasion to sit. And the miscellany, which must have followed Copley's passions, probably prevents his holdings from having the coherent power of truly great collections. But gradually an overall impression becomes dominant.
Mr. Reilly wrote that Copley was interested in collecting documents that gave some feeling for the people behind the history. And in this, Copley may have been extending his newsman's instincts into the realm of collectibles, broad events being brought to life with particular examples, the human participants taking center stage.
We know that Stowe's "Uncle Tom's Cabin" had an immense power on the abolitionist movement in the Civil War, but here is a note the book's author sent to an abolitionist colleague. "The bearer," Stowe writes, "is a minister — a delegate to the African Methodist Convention." But she adds to this introduction a powerful solicitation: " He is a slave and unless he can raise money this summer for his ransom must be sold to settle an insolvent estate."
And when we actually see Lincoln's communication to McClellan, dated May 25, 1862, with the time noted as 1 1/2 PM, we get the sense of urgency and frustration not only from the words ("The enemy is moving North" and "let me hear from you instantly.") but also from the haste and quiver in the letters, particularly when compared with nearby examples of Lincoln's hand.
The same sense of the artifact expanding its writer's words can be seen in the manuscript of Einstein's 1932 speech to the Associates of the California Institute of Technology. It is cleanly written on pages torn from a pad. It seems to be a fluent first draft written out for the lecture with few editings; the casualness of the writing belies the clarity of the thought, which must have been established in mental form before Einstein put pen to paper.
"The basis of our European-American civilization is critically shaken," Einstein writes. And he seeks to offer comfort and reproof by recalling that civilization's creative roots in Hellenism and the Renaissance ("The individual is commanded: 'Think, observe, and create' ") and its ethical roots in Hebraic and early Christian writings. ("Save thy soul by unselfish service to common humanity.") The weight of his thought and the lightness of its trace on paper make a powerful contrast, providing a sense of the man's lucid presence in his abstract words.
And then there's a 1903 note by Twain that might ordinarily be overlooked, so insignificant does it seem: an answer to a correspondent who challenged Twain's argument that lying can sometimes be a virtue. Twain answers with a powerful example. He recalls telling his deathly ill wife that their deathly ill daughter was fine and would attend a matinee the following day.
There is also, though, something melancholic about this exhibition and the prospective sales. The Copley Press says one reason it is selling this material is to make it more accessible to a greater public. But it also seems like another in a series of recent sales and offerings of Copley real estate and newspapers, reflections of a major crisis in the newspaper business. This collection offers an individual human trace of what is being lost.
A preview sampling of the John S. Copley Library of original manuscripts, letters and paintings is on display through next Saturday at Sotheby's, 1334 York Avenue, at 72nd Street, Manhattan; (212) 606-7000.


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Enzo Cucchi and Rome: We Were The Avant-Garde









January 15, 2010






MACRO Museum of Contemporary Art Rome



Enzo Cucchi
Study for Costume Interiore, 2009
Courtesy: the artist



Enzo Cucchi: Costume Interiore

and

MACROroots of the contemporary
Rome: We Were The Avant-Garde

In collaboration with Incontri Internazionali d'Arte

23 January - 5 April 2010


MACRO
Via Reggio Emilia 54 Roma

http://www.macro.roma.museum

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MACRO is pleased to present: Enzo Cucchi Costume Ineriore, a "visionary tower" that unfolds a magnific world of images, and Rome: We Were The Avant-Garde, a retrospective on the great 1970's avant-garde exhibitions "Vitalità del Negativo" and "Contemporanea," which pays homage to Graziella Lonardi Buontempo.

The great installation by Enzo Cucchi, Costume Interiore, is a "visionary" tower consisting of three metal cylinders, one on top of the other, which the visitor is invited to enter, in order to discover the universe of images it reveals. Inside the tower, anthropomorphic presences and hanging figures (heads, skulls, agglomerations of paint, and thin spheres) reverberate in an emotional and visual counterpoint and create a real "inner costume."

Emerging from the fundamental link between Cucchi's work and the world of theatre (which transforms the attire of performance into "costume"), Costume Interiore turns into an intimate and interior "other" place, and takes the visitor on a visionary journey to the very origins of the image and of the senses.

Rome: We Were The Avant-Garde, curated by Luca Massimo Barbero and Francesca Pola, is a story in images devoted to the work of Graziella Lonardi Buontempo, a prime mover in the Rome's art scene since the early 1970s, and a tireless promoter of the most advanced art research.

The exhibition, part of the project "MACROroots of the Contemporary," is the first to be dedeicated entirely to a reinterpretation of two key moments in the history of contemporary art: "Vitalità del negativo nell'arte italiana 1960/70" – which in 1970 transformed Palazzo delle Esposizioni into a gigantic multimedia world – and "Contemporanea" – an international interdisciplinary review that inaugurated the vast underground parking lot of Villa Borghese in 1973. Both exhibitions, curated by Achille Bonito Oliva and made possible by Graziella Lonardi, represented in that time a new and revolutionary way of presenting and discussing art.

Rome: We Were The Avant-Garde will show art-works, photographs, documents, letters and films that will enable visitors to re-experience these two highly significant moments in the history of Twentieth-Century art in relation to the present world.

The exhibitions are promoted by the City of Rome, Council of Culture and Communication – Superintendence of Cultural Heritage

Via Reggio Emilia 54, Roma, Italy.
Tuesday - Sunday 9 am-7 pm
MACROTICKET: MACRO / Via Reggio Emilia + MACROFUTURE / Testaccio
http://www.macro.roma.museum
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Friday, January 15, 2010

NSA: The Air Force versus Hollywood--late '50s/early 60s "documentaries" "To refute early 1960s novels and Hollywood films like "Fail-Safe" and "Dr. Strangelove


National Security Archive Update, January 15, 2010

The Air Force versus Hollywood: Documentary on "SAC Command Post" Tried to Rebut "Dr. Strangelove" and "Fail Safe"

Cold War Documentaries Present the Air Force's Spin on Airborne Alert, the "Missile Gap," and Nuclear Command and Control; Films Premiered On-line in the National Security Archive's Nuclear Vault

For more information contact:
William Burr - 202/994-7032

http://www.nsarchive.org/nukevault

Washington, DC, January 5, 2010 - To refute early 1960s novels and Hollywood films like "Fail-Safe" and "Dr. Strangelove" which raised questions about U.S. control over nuclear weapons, the Air Force produced a documentary film--"SAC [Strategic Air Command] Command Post"--to demonstrate its  responsiveness to presidential command and its tight control over nuclear weapons.

Never used publicly by the Air Force for reasons that remain puzzling, "SAC Command Post" is premiered online today on the National Security Archive Web site. Produced during 1963-1964, this unclassified film tried to undercut Dr. Strangelove's image of a psychotic general ordering nuclear strikes against the Soviet Union by showing that nuclear war could not be "triggered by unauthorized launch." To reinforce an image of responsible control, "SAC Command Post" presents a detailed picture of the communications systems that the Strategic Air Command used to centralize direction of bomber bases and missile silos. With the film's emphasis on SAC's readiness for nuclear war, higher authorities may have finally decided that it was off-message in light of the Johnson administration's search for stable relations with Moscow.

"SAC Command Post" is one example of the Air Force's sizable documentary film output, which includes a number of documentaries on that service's role in researching, developing, deploying, and operating nuclear weapons systems, as well as in tracking the nuclear activities of adversaries. The films inevitably embody some of the Air Force's spin, promoting views, policies, and programs that were then on its agenda. In this special collection for the "Nuclear Vault," the National Security Archive presents two other documentaries highlighting Air Force nuclear-related activities during the crisis years of the Cold War. They are:

* "Project Headstart" (1959), original classification status unknown, which depicts SAC's first airborne alert test by bombers operating out of Loring Air Force Base (Maine) in the fall of 1959. Designed to keep nuclear-armed bombers in the air so they could head towards Soviet targets at a moment's notice, airborne alert was an accident waiting to happen. In 1966 and 1968 crashes of nuclear-armed B-52s in Spain and Greenland caused international incidents.

* "Development of the Soviet Ballistic Missile Threat" (1960), originally classified "secret," illustrates the role of Air Force intelligence in the "missile gap" debates in the years before the 1960 presidential election.  Like other government intelligence organizations, the Air Force hyped up the Soviet ICBM threat, not recognizing how far ahead of the Soviet Union the United States already was.

These films are from DVD reproductions of the original footage stored in the collections maintained by the National Archives' Motion Pictures Unit, College Park, MD. A number of Air Force films from the 1960s, including secret Strategic Air Command reports, remain classified. The National Security Archive's Nuclear Documentation Project has requested them for declassification release.

http://www.nsarchive.org/nukevault

________________________________________________________

THE NATIONAL SECURITY ARCHIVE is an independent non-governmental research institute and library located at The George Washington University in Washington, D.C. The Archive collects and publishes declassified documents acquired through the Freedom of Information Act (FOIA). A tax-exempt public charity, the Archive receives no U.S. government funding; its budget is supported by publication royalties and donations from foundations and individuals.

_________________________________________________________



...on the eastern front: video art from central and eastern europe 1989-2009--Ludwig Museum Museum of Contemporary Art








January 15, 2010






Ludwig Museum
Museum of Contemporary Art



Adrian Paci
Turn On, 2004
3'30''



...on the eastern front
video art from central and eastern europe 1989–2009

22 January - 7 March, 2010


Ludwig Museum
Museum of Contemporary Art

Ludwig Múzeum–Kortárs Művészeti Múzeum
H-1095 Budapest,
Komor Marcell u. 1.

http://www.ludwigmuseum.hu

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Gordana Andjelić-Galić, Apsolutno, Azorro, Yael Bartana, Pavel Braila, Egon Bunne, Chto Delat, Kaspars Goba, Hámos Gusztáv, Ana Hušman, Kai Kaljo, Šejla Kamerić, KissPál Szabolcs, Damir Nikšić, Adrian Paci, Radek Community + Dmitrij Gutov, Józef Robakowski, Anri Sala, Sólyom András, Milica Tomić, Artur Żmijewski

Curators: Rita Kálmán, Tijana Stepanović



The exhibition examines the effects of the changes taking place on the area of the former "Soviet block" on the individual and the different groups of society from the aspect of socio-psychology. It concentrates on the human dimensions of the transition period lasting since the end of the eighties, on micro-processes.

The period since the demolition of the Berlin Wall is characterised by democratisation everywhere in the region. However, the rate, timing, technique and extent of transition are different in every country. Consequently, the responses given to the challenge of transition are answered in various different ways by individuals, by groups and by society. The exhibition uses a psychological viewpoint to examine the relations and dynamics of the various groups of society and the individuals.

Radical political, social, economic changes can be excellently documented and analysed by video art, which started to develop and become widely spread in the region in the same period of changes. The exhibition harnesses this coincidence, when it uses this media to introduce the processes dominating the recent past of the region.

As opposed to the conventions of film production, which required complex technical apparatus, video art appearing during the 60's represented a novel alternative. Due to the mass appearance of easy-to-handle, so-called portable video cameras and VHS from the 80's wider groups of amateurs and professionals were increasingly able to record motion pictures. After photography and film making, the genre of video art also has offered novel possibilities of extending – and manipulating – private and historic remembrance. The ways of shaping public opinion and influencing public sphere have changed irreversibly, the setting in of information society was not simply an accompaniment of the changes of regime taking place in the region, but it became the facilitator of such changes.

The exhibited works address society with severe criticism, document, analyse and contextualise this conflict-laden region and period. But instead of giving final answers they inquire into issues that were typically avoided or swept under the carpet in public common talk in the countries of the region.

What is our attitude towards our historical past? What are the consequences of the changes of national identity and national stereotypes? How can individual lives be carried on amidst all the rearrangements of society? What intergroup relations, conflicts have played a dominant role in the last twenty years?

The multitude of viewpoints and aspects, presented through the media of video art provide a unique asset of aesthetic and critical positions to the current discourse on the transition period.


Transitland – Video Art from Central and Eastern Europe 1989–2009

The exhibition …on the eastern front is a thematic selection from the archives entitled Transitland – Video Art from Central and Eastern Europe 1989–2009, a compilation of 100 single-channel video works, produced in the period 1989–2009 and reflecting the transformations in post-Socialist Central and Eastern Europe. Transitland is not only the widest-spanning presentation of video art from Central and Eastern Europe but also a unique attempt to address and reflect upon an extensive period of transformation and changes. This archive of 100 works is "capsulated" in so-called video jukeboxes, which are browsable and will be available in the Ludwig Museum, Budapest for research and individual viewing.

Transitland is a collaborative project of InterSpace (Sofia, Bulgaria), Ludwig Museum–Museum of Contemporary Art / ACAX | Agency for Contemporary Art Exchange (Budapest, Hungary) and transmediale (Berlin, Germany).

For further information, please see:
http://www.transitland.eu
http://www.ludwigmuseum.hu
http://www.acax.hu

Publication

A reader with essays, edited by Edit András and published by the Ludwig Museum, Budapest examines the video art of the last twenty years in post-Socialist Central and Eastern Europe. The authors of the book provide selective analyses of different aspects, and an angle on the field observed, demonstrating its fecundity and vividness.

Authors: Edit András, Ruben Arevshatyan, Giorgio Bertellini, Konstantin Bokhorov, Svetlana Boym, Boris Buden, Călin Dan, Margarita Dorovska, Zoran Erić, Antonio Geusa, Boris Groys, Marina Gržinić, Kathy Rae Huffman, Ryszard W. Kluszczyński, Mihnea Mircan, Miklós Peternák, Tomáš Pospiszyl, Boryana Rossa, Katarína Rusnáková, Keiko Sei.

To order the book please contact: secretariat@ludwigmuseum.hu









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