April 17, 2014
GENSPACE/ New York City’s Community Biolab

Plastic Pollution and Ecosystem of Excess

8:00 PM to 10:00 PM on Saturday, April 19

Location: Genspace
Organizers: Nurit Bar-Shai

Plastic Pollution and Ecosystem of Excess
A Talk by Ingeborg Reichle & Pinar Yoldas 

: Saturday, April 19 2014, 8pm
Doors open at 7:30pm

Where: Genspace, The MEx Building
33 Flatbush Avenue,
Brooklyn NY 11217

Genspace Talks on 2nd Floor !

Please RSVP
($5 suggested donations at door)

For questions contact us at info@genspace.org

"If life started today in our plastic debris filled oceans, what kinds of life forms would emerge out of this contemporary primordial ooze?"  — PY

Artist-Researcher, Pinar Yoldas joins art historian, writer, curator, Ingeborg Reichle to discuss Life and Art in the plastic sphere.

Environmental activist and discoverer of the “Trash Vortex” Captain Charles Moore boldly claims that “the ocean has turned into a plastic soup.” The ancient ocean, the primordial soup, gave birth to the very first organic molecules and was brimming with prehistoric living organisms. That was four billion years ago. Today the composition of oceans is undergoing a dramatic change where synthetic molecules are taking over. Anthropogenic waste has filled our oceans in less than two decades. The Great Pacific Garbage Patch - a truly ‘sublime’ kinetic sculpture built by all the nations around the Pacific Ocean through many years of mindless, unsustainable consumption. It is a garbage vortex made up of several million tons of plastic waste in the North Pacific about the size of Central Europe, an inspiration and birthplace for Yoldas’ species of excess.

Joining us, Dr. Reichle, will discuss her research with plastic pollution in the Arts and introduce artists and activists who’s work center around polluted oceans with plastics, non-degradable materials and plastics that are consumed by live organisms and become part of our food chain. Dr. Reichle will discuss Yolda’s artwork “An Ecosystem of Excess”, currently on display at the The Ernst Schering Foundation, Berlin, following a presentation by the artist.

"Yoldas creates a post-human ecosystem of speculative organisms and their imagined environment. From primordial soup to plastic soup. Yoldas’s work introduces pelagic insects, marine reptilia, fish and birds endowed with organs to sense and metabolize plastics as a new Linnean order of post-human life forms. Inspired by the groundbreaking findings of new bacteria that burrows into pelagic plastics, her work envisions life forms of greater complexity, which can thrive in man-made extreme environments, and turn the toxic surplus of our capitalistic desire into eggs, vibrations and joy.
 Starting from excessive anthropocentrism she suggests life without mankind."

Dr. Ingeborg Reichle, is an art historian and cultural theorist writing on, contemporary art, new technologies and new media, with a focus on, biotechnology and artificial life. 2005–2011 she held a research position at the Berlin-Brandenburg Academy of Sciences and Humanities in Berlin. She currently teaches at the Hermann von Helmholtz Centre for Cultural Techniques at Humboldt-University Berlin. In 2004 she received her Ph.D. from Humboldt-University Berlin. Her dissertation on „Art in the Age of Technoscience: Gentic Engineering, Robotics, and Artificial Life in Contemporary Art“ was published in English in 2009 with Springer. She completed her habilitation in 2013 with the thesis „Bilderwissen – Wissensbilder. Zur Gegenwart der Epistemologie der Bilder“ at Humboldt-University Berlin. She has given talks at a number of international institutions, such as the School of Visual Arts in New York, the Department of Biology of the Massachusetts Institute of Technology (MIT) in Boston, the Life-Science Lab of the German Cancer Research Center in Heidelberg, and the Tembusu College of the National University of Singapore.

Pinar Yoldas is a cross-disciplinary artist and researcher. Her work investigates social and cultural systems in regards to biological and ecological systems. Lately she has been designing mutations, tumors and neoplasmic organs to rethink the body and its sexuality transformed by the mostly urban habitats of techno-capitalist consumerism. Pinar received her MFA from University of California Los Angeles. Currently she is pursuing her PhD in the Art, Art History and Visual Studies department at Duke University. Her research interests include bio-art, art-neuroscience interactions and eco-feminism. Prior to her education in the States, she has received a Bachelors of Architecture from Middle East Technical University, a Master of Arts from Istanbul Bilgi University and a Master of Science from Istanbul Technical University. She holds a bronze medal in organic chemistry in national science olympics and had her first solo painting exhibition when she was five. 
» http://pinaryoldas.info

January 24, 2014
Allen Ginsberg/ Poetry, revolution and CIA

Allen Ginsberg class, (June 9, 1977)

A class in Ed Sanders’s “Investigative Poetics” series, led by Allen Ginsberg. Ginsberg discusses the contemporary political situation and the way in which political situations do and have interacted with poetry. 

[James Jesus Angleton  (1917-1987), Chief of the CIA’s Counter-Intelligence Staff 1954-1975]

Allen Ginsberg: Well, ok, what does all this mean? [all this COUNTELPRO information]  - It means that.. Well, one thing it means that, see, their budget was enormous.I mean they had seven billion dollars a year, the CIA alone had seven billion. So there was a budget of anywhere between seven and twenty billion, who knows?  to employ millions of secretaries and lots of telephone bills, automobile bills, cars, mimeograph machines, people to write letters, specialists, agents who would analyze other agents work.  Almost every move that was made in the Peace Movement was infiltrated and checked, and it was almost impossible to get anything done, from a poetry reading to a..Yellow Submarine march in New York..to a Be-In.. without some surveillance and interference of some kind or other. 

Student:  What would be their budget today?

AG: Probably the same. Not much different. The White House has given orders - “no more (of) this stuff”. Thereby hangs a tail. A number of FBI agents are being.. forty-one agents I think, are being indicted for hanky-pankey in their treatment of the Weathermen - wire-tapping, mail-opening, illegal behavior - and thereby hangs a tale, in this sense - I saw (Timothy) Leary about three weeks ago for the first time since he was out of jail, the first time we (had) met (he told me before on the phone about this (Eldridge) Cleaver business). There was one thing.. there was one technical point I always wondered (about). You see, the FBI and the DEA were (actually) the ones who spread most of the stuff about Leary being a fink. That was another counter-intelligence thing, to discredit him and confuse everybody. Leary’s position was ambiguous to begin with as a sort of egoist and someone who was set up, so he did have enough problems to begin with, but they just escalated it, in order, specifically, to poison people’s minds against him and to make everyone think he was an irresponsible.. (that) his brains had been cooked by acid, and (that) the whole acid thing was hopeless and historically a great failure, and Leary, his brains were cooked and he was finking on his friends, and there was no community come out of it. And, actually, they succeeded (in) convincing Marc Raskin, who’s a big left-wing intellectual and head of theInstitute for Policy Studies, which was a Washington think-tank. When Leary got in trouble, I tried to arrange through Raskin to get all Leary’s papers sequestered in a Congressional sub-committee, to save his papers from being seized by the DEA. So Raskin said he would try, and I said, “Well, what do you think all this means?”, and he said, “Well, one thing it proves is that acid does not lead to community, and I’m interested in community, as a political person” - which was precisely the point that the FBI was trying to make and working toward, that is, to break up any community that might exist and to poison everybody’s minds, taking advantage of natural problems (because there were natural ego problems), and escalating them to a point where they became unmanageable and hidden.  In Leary’s case, Leary was actually talking with the FBI about the Weathermen (said Leary) and, at the time, the one quote…the one thing I saw quoted was that, when people knew what he was talking about, they would appreciate it rather than hate him. So I asked him what was that point actually?  - and that, years later, (19)74 to (19)77) - and he said, “Ah, that the entire FBI case on the Weathermen rested on whether or not they were getting money from Moscow, whether they were getting foreign money, and I knew the Weathermen a little (not really enough to get them in trouble, because I didn’t know much more than what was in the papers and what I knew was years old, but I did have..) what real evidence I had was that they were not getting any money from abroad, so I talked as much about them as I could, saying that I wanted to talk about the Weathermen to the FBI, and thus claim some credit for helping undermine the entire FBI case, (he said), against the Weathermen, as you see they’re now indicted precisely for that point. And now, their only defence, they couldn’t have proved money, so they’re trying to prove now, as their defense, (was) that the Weathermen were getting military training from Cubans, that there was some connection, somehow with..    See if the Weathermen were foreign agents of a foreign..  [Allen pauses here]  - I wonder if there’s an agent here, in this room  if the Weathermen were agents of a foreign country, there naturally would be one if their budget’s the same, actually! 

In 1969, a small group of leftist college student radicals announced their intentions to overthrow the U.S. government in opposition to the Vietnam War. This documentary explores the group in the context of other social movements of the time and examines the U.S. government’s suppression of dissent during this turbulent era through projects such as COINTELPRO. 

Ed Sanders’ Investigative Poetics, it’s a very interesting conception. It is an interesting conception, but anyway…  Leary was claiming credit for having undermined the one defence that the FBI’s right wing Hoover neanderthal group had in defending itself. So anyways, it’s all very complicated.

Well what has all this got to do with Investigative Poetics?  I don’t know. I thought this information would be useful and put lots of cultural history in context.

Student: How did you go about getting your file?

AG: I got a lawyer . Anyone can do it. Its harder and harder to get because so many people are asking, but you.. there are forms you’ve got to fill out and letters you’ve got to write. I got hold of a lawyer [Ira Lowe] who was working for Tom Hayden and Jane Fonda and who was a friend of mine, a friend of my dentist in Washington, and I’d known him for years, and he likes me as a poet, and so he suggested.. We were talking one day and I said “Can I get mine?,  and he said “Sure”, and I said “How much?”, and he said “Well, I’ll do it for free, just pay the court costs, or whatever duplicating fee - they charge you two cents a page or something - or filing fees if you’ve got to sue them. So, actually, I’ve been working on it for three years. I still haven’t got all my papers, but I have a pile this high.

Student:  Do you trust the information that they’re sending out.

AG: No no, they don’t give you everything. No question of trusting it. I don’t trust..  
There’s no.. I trust that they haven’t sent me everything that they’ve really got. I know, certain areas, where I know they’ve got information where..f or instance, I was busted by the Secret Service at the 1968 Convention and kidnapped for about an hour, and then kicked out of the Convention Hall - illegally, when I had the proper accreditation, and there’s no record of that in the Secret Service file, although when they brought me to the Secret Service room, the guy dressed in black, looked at me and said “Hello, Allen”… So, I mean, they must have had..there must be something on paper, you know, (but) there’s no paper. There’s a lot of stuff. All that stuff about CIA dope, that was my most active research, and there’s endless newspaper-clippings and television broadcasts (that) I made talking about it, until I cultivated that whole thing until it actually  became a reality, as far as a public notion, and there’s absolutely nothing on that, except a couple of letters that I sent to the CIA in my file. There’s no..  I had interviewed Richard Helms and there’s no report on that, and I had had stuff published in the papers which is not.. even newspaper-clips were missing (Jack Anderson columns describing my accusations against the CIA, even that was out). So I know that I’ve only got the tame stuff..Well, the tame stuff, but there’s so much stuff, that, even among the tame stuff, you can see the extent of the surveillance.

Student: Didn’t you think that some of the stuff they’re sending you is lies, they may have made it up before they send it to  you

AG: What?

Student: I have no idea. I just would assume..

AG: Well, nothing.. there’s nothing that.. lies? in which direction?

Student: Well, confusion .. In the same way that. .false things that have been said in the past In other words, you would be given..

AG: Might be. That’s possible - but there was nothing here particularly confusing. I mean, here was the FBI (who) had tried to confuse everybody about Cleaver and SNCC and tried to seperate Leroi Jones(Amiri Baraka)and the Black Panthers, tried to manipulate Jones to be anti-White, tried t0..  It all fell according to Hoover’s prescription to try to break down any charismatic Black leaders(hip).

Student: I just wondered…

AG: It’s possible, but I don’t think so, because, you see, it’s a whole decade later now, they’re different clerks, who are letting things through that you wouldn’t… [Allen breaks off]  How late is class supposed to go?

Student: Till one

AG: Okay, so we’ve got a little time.

Student; What do you personally think that say the CIA or the FBI with its agenda is up to now?

AG: Well, one thing, I’ve always had a theory (which I’ve never been able to prove). I used to think it was paranoid but now I get more and more to feel that it is possibly true, that part of the literary war of the mid (19)40’s (19)50’s and (19)60’s (in which I was involved, somewhat, from the mid 50’s on), part of the literary world of Beat Generation and different styles of poetry  was somewhat weighted and influenced by activities both by CIA and FBI.. CIA in their manipulation ofEncounter magazine in a world-wide network, in literary and intellectual, ideological cultural magazines - EncounterQuest,PreuvesDer Monat, a world network of magazines subsidized by the CIA and edited by them to their own interest promoting somewhat liberal but conservative non-revlutionary, non-psychologically visionary, anti-Whitmanic, pro-conservativeEliotic manners - and they were very nasty about Kerouac (reviews in Encounter and those magazines were always very..(Jack) Kerouac and (William) Burroughs. In fact, in 1958 in Paris I sent a copy of Burroughs’ Naked Lunch to Stephen Spender, asking if he’d publish some of it in Encounter magazine, and Spender wrote back that he would not, that it was only of interest to psychologists or a psychiatrist! - And I got so mad, and I’d heard already rumors, so I wrote to Spender saying, “Is or is not Encounter magazine funded by the CIA?” And Spender wrote back saying, “No”. And then it turns out it was. 


Student: What kind of magazine was Encounter?

AG: It’s still going [1976], it’s still running

Student:  A psychology magazine? 

AG: No, no, it’s a literary.. like Partisan Review - but an international.. Anglo-American.. You never saw it?

Student: No, I never saw it.

AG: Oh well, look it up. It was the most elegant and prestigious magazine, and it was the magazine of intellectuals that were being quoted, with Partisan Review (also, sometimes subsidized), quoted in Time magazine and Newsweek as being the prestigious source of.. if you want to know what’s going on in the world of intellectual ferment, just check it out in Encounter. So that everybody.. all these high-school teachers and college teachers reading Time magazine and Encounter, they all got the idea that, well, literature was like this, and that the really important intelligent people that were at it, you know, who say this is this, and who were these other interlopers who are scroungy and creepy and have bad literary manners, you know, not part of the tradition, not part of the school, which is actually a CIA version of literature. Easily-done, because the head of CIA counter-intelligence was a guy named James Angleton, who was a great friend ofEzra Pound and T.S.Eliot and William Carlos Williamsand he was chief of all CIA counter-intelligence, all over Europe. He was the one who arrest.. who had Pound in a tiger-cage and kept Pound from getting killed (he says) as a traitor here (in the US). He edited.. He and Reed Whittemore, edited Furioso magazine out of Carleton College in 1938, and he brought Pound over to the United States on a pre-war trip, which is famous, and so.. and then he worked with a guy namedCord Meyer Jr in the CIA, who was a friend of Wendell Willkieand in favor of "One World", and was a poet. Cord Meyer Jr was the bag-man who gave the money to Encounter through the foundations and figured out how to spread CIA money through foundations - it would go to, like, labor journalists, who would write anti-Communist columns denouncing the dock workers in Saigon going on strike against the American puppet. So it was a very complicated matter. They were the same group of people who paid off Corsican goons to take over those 1948 docks at Marseilles to prevent a strike against Marshall Plan arms being unloaded, thus giving the Marseilles docks into the hands of criminal elements who later trans-shipped all the heroin. Oh, it’s too complicated! - So..”data clusters” - how do you deal with all those inter-related data-clusters?

So, anyway, my theory was, (and always has been), was, that J.Edgar Hoover who hated the Beatniks publicly, did everything he could to make everything sound bad, and spread all the worst misinformation that he could, and that the CIA just had a natural dislike of a Whitmanic, non-Eliotic temperament and..  They also subsidized student movements, the International Student Association, and so blocked the development of a radical student movement until it got, sort of like, over-hysterical, and then SDS came in  and  so what would have been developing without CIA intervention in the student movement in the 50’s onward would have been something more radical than what developed and less violent and hysterical, but because the CIA blocked the natural development of a hip radicalism, what came on at the end was this over.. over-compensating SDS shot, which finally lead to, you know, like total paranoia

Well, bringing all this back. Well, what it proves is that poetry, poetry and imagery has got something to do with the larger world of policy and decision-making and history and politics. The Intelligence people sure do pay a lot of attention, spend a lot of money keeping track of all the poets and all the cultural figures that write books and novels and essays. We’ve come through a long period of very heavy police surveillance and maybe one thing poetry can now do is do surveillance of the police, if possible not getting caught up in their mentality of secretiveness and competitiveness. On another level, from a tantric point of view, we must give credit to the CIA and the FBI for two great services. One - they took our own neuroses and exaggerated them so greatly that they made our sicker plans unworkable, by escalating any paranoia, distrust machismo and stupidity passion, aggression and ignorance, by exaggerating those elements, at least they brought them to a boil (as far as pus, you know, brought them up), where they were visible and where we could learn from them. And also, they kept invaluable archives!, really fantastic archives! - things that I never would.. letters that I never would have had, phone-calls that I never would have been able to retrieve, correspondence with my Congressman, their archives are fantastic! - and, in the long run, one must thank them for doing kind of bibliographic literary work that nobody else had time to accomplish, because, though Ed (Sanders) and I and other people were trying to keep records, and keep all sorts of filing systems, they had it all down on computer and it’s all there, waiting for scholars to work with, make use of.

Student: (But) of course, if they were not as opposed to us in the long run.

AG: If they were not..?

Student: I say that’s opposed. They…

AG: You mean they got killed? or snuffed out? - No, I think it(‘ll) just settle down. One way or other, it all turned to mush anyway and everybody’ll get their files.. I don’t know. I think the political situation now, according to the White House (which Peter (Orlovsky) and I visited about a month ago, to see some of the lower echelon people).. but the Drug Czar  (sic), their idea is that the FBI and the DEA doesn’t tell the White House its secrets. The FBI still doesn’t tell White House secrets, CIA doesn’t.  And (at) the White House, maybe, the Drug Advisor, a man, Peter Bourne, has maybe twenty, or fifty, telephones. And the DEA still has a budget of a billion dollars, more or less (the drug bureaucracy has a budget of a billion dollars, and fifty thousand telephones!) so what can the people in the White House do against these built-in bureaucracies? And that’s the general problem in Washington (not only in the Drug Department but also, say, (in) the Highway.. the Interior Department with the Indians, or the Pentagon, or whoever deals with Oil or Energy and Aerospace, these giant bureaucracies, which are really uncontrollable, or would take generations to control, unless a whole new evolved personnel, new generations of hippies coming into government, taking the lowliest secretarial jobs till you can cover the whole filing system, then it would take decades for anybody to read through it. In fact, nobody will ever know what happened because there’s so many files and it’s so extensive that to put everybody’s energy into figuring out what happened in the past, you wouldn’t be able to do anything now!  You’d be totally occupied in paranoic scholarship about the past.

So, one literary project we have. (Lawrence) Ferlinghetti would like to publish a sort of cahier, a book, of records of celebrated interventions and fuck-ups by the government (like maybe the thing of the bust of  (Eldridge) Cleaver, some of these papers about (Amiri Baraka) Leroi Jones and Cleaver and ..  Ed (Sanders) has a collection of them, and I have a collection of them at home, so Ed and I have been talking together about trying to put together some sort of book, and that might be a project that this class could get involved with. I think that in his catalog, he says… but he was interested in local projects, local investigative stuff, see how it works out, but one thing possible is everybody spread out and gather all the different cases and documentation and make one, sort of like..one interesting  book of sample things (because you could never be able to get enough to cover the whole pattern).You know, you’d get, just like a couple of cases about the Panthers, couple of cases about the Peace Movement, couple of cases about (the) Poets, a couple of cases of.. (the) bombing (of)Grove Press - (The Women’s Movement, infiltrated by the FBI, leading a  Women’s Lib strike against Grove Press because Grove Press was publishing anti-CIA stuff - that also happened).. Grove has a.., The Women’s Lib movement was infiltrated. In fact,  (Timothy) Leary said..  There was a point when the Berkeley Barb was attacking Leary for being anti-feminist and machismo for taking all the credit and leaving Rosemary, his girlfriend, aside, or something like that - they were attacking him for his treatment of Rosemary, his girlfriend, and he says that it was the FBI intervening in the Women’s Movement to drive him out of Switzerland. The effect of that Barb article was to reveal where he was, in Switzerland, trying to be quiet with Rosemary. So he said that the infiltration was that delicate and that witty. So anyway it might be interesting to.. this class might work on something like that.
But the main problem is - one - how do you deal with it without going crazy, and there’s an excellent atmosphere here [Naropa], because we have a Buddhist atmosphere - you (we) have to clean out your mind - where you can learn to meditate.. So the question is..

Student: What’s the question?

AG: Is there anybody who does not sit, at all, or never has had any experience with sitting? [Allen observes a show of hands] Well, those who have not, please check (it) out and learn how you sit, Buddhist-style, and sit for an hour, and then go on if you like it, or don’t go on, but, have the inside experience of examination of your mind, examination of the cycles of paranoia, so to speak, cycles of passion, aggression and ignorance, so that if you do work with this kind of dynamite material, it doesn’t take over your brain and turn you into a frothing hippie!.. an angry.. to deal with the anger that rises in dealing with this material, 
(tremendous) resentment and anger, that’s the difficulty . The other is what is the poetics of it, how do you take all this information, which is important for people to understand, even for Buddhists to understand, even Buddhist gurus to understand, how do you present it to them? because I, for instance, have lots of trouble.. this.. well, I’ve been rapping for an hour-and-a-half. You can’t do that to (Chogyam) Trungpa (Rinpoche), or a Zen master, or Roshi Baker, or Jimmy Carter? - how would you get all this information together in such form that it could be presented to people without making them feel up-tight, educating people, delighting people, illuminating people (because these stories about what happened with (Eldridge) Cleaver, (Timothy)Leary, (LeRoi) Jones (Amiri Baraka) and the Whites, those are really illuminating and relieve a lot of pressure on the brain, I mean,   you realize that the whole anti-White trip of the Blacks was not necessarily inevitable history or historical necessity but was just human fuck-up, as much as anything else, and that one’s communal impulses all along, that one suppressed, were right. So there’s some humane value in getting all this information out and in digestible form but how to do so?
Well, Ed (Sanders) has samples, I have samples. I didn’t cover any of it. There’s some clear material in William Carlos Williams’ Paterson, some in (Ezra) Pound’s Cantos,and some in (Charles) Olson’s Maximus, and a great deal in (Charles) Reznikoff’s Testimony and Holocaust. So there are four great poets, at least - Reznikoff, Pound, Williams and Olson - who’ve worked in the twentieth-century on this kind of material in one way or another - and Ed (Sanders)’s worked on it, and I’ve worked on it, and he’s got innumerable other examples, and so it’s a really interesting subject to focus on, so the whole..  It’ s the first time Ed (Sanders) has actually, I think, tried to teach it, a whole sequential season (he’s got this one pamphlet which is based on lectures here [at Naropa] two years ago). So I’m really interested in seeing what will come out of it, both in terms of production of poetry and also the techniques (because he knows a lot about how to do research, which will be valuable for everybody to pick up, you know, where to go to get material like this, and how to get it, and how to work with police, how to be the police, finally

Student: Is there anything available about the personality of the people that engineered all the FBI things..?

AG: I don’t know

Student: It’d probably be helpful in understanding..

AG: Don’t know. Edgar Hoover himself, there’s quite a bit of material on him. But, actually, I don’t know.Ed (Sanders) would probably know a little bit more, because he knows.. he’s been working with police a lot.. knows police jargon, he gets along with them.. 

Student: Also magazines like the Berkeley Barb and Akwesasne Notes, magazines, newspapers like that have that information, they give names, the apartment they’re in  in Washington, and all that stuff. So..those are good sources to check out

AG: Yeah. My own conclusion is that when you finally get closer and closer to the source of the information and it becomes realer and realer you get less and less angry and finally see it as some sort of Dostoevsky novel, and, finally, when you finally confront and meet the head of the CIA, (or the head of.. like I’ve met (James) Angleton (had brunch with Angleton for three hours about a month-and-a-half ago), finally meeting these imaginary nemesis figures, then some kind of Buddhist attitude is really useful - observation (like you observe your mind, like you’re observing them, rather than fighting, in the sense of getting more and more information. I think the key principle is a phrase of (William) Blakes - “If you want to know Satan’s nature.. examine.. ask him to explain his system” [Allen is, perhaps, conflating some ideas here - “I must create a system, or be enslaved by another man’s” (fromJerusalem)] , examine his system to the bottom until you finally find that spot where he’s blanked out of nature, he’s got some weird idea - ”If you want to know the nature of Satan, find his system” - So, in a sense, it’s like trying to find the system behind all this. What is their idea in doing all this? What’s going on? What are they doing? - You know, if you’re collecting dirty pictures of poets, and all those things?, What? - Instead of getting mad, it really would be more interesting to just explore it, get way into it, find out who they think they are, see it’s a question of, the old Buddhist question of, “what is their identity?” and what fixation, or solidification, or fixed notion of identity are they clinging to that they’re organizing this seven billion system of surveillance of everybody else’s identity. Because it’s identity, (a) Buddhist identity problem is what’s going on, really, and intelligence - you know “Intelligence” and “Counter-Intelligence”, composition of poetics - it’s a funny area. Intelligence itself, it’s a funny area. The name itself, Intelligence - Central Intelligence - Federal Bureau of ..what is it, Intelligence?

Student: Investigation

AG: “Investigation”, yes, well “Intelligence”, “Counter-Intelligence” - COINTELPRO - Just the very terminology is poetry. Okay, I guess that’s enough for (today). I think Michael Brownstein will do the next class unless Ed (Sanders) is here.

[tape and class concludes]

Audio for the above is availableherebeginning at  approximately ten minutes in.

July 22, 2013

Histoires vraies racontées par les habitants de la Méditerranée - Storie vere dei popoli del Mediterraneo- True stories from the people of the Mediterranean - - סיפורים אמיתיים מאנשים של הים התיכון - Aληθινές ιστορίες από τους ανθρώπους της Μεσογείου - Akdeniz’in insanlardan gerçek hikayeler -قصص حقيقية من الناس من منطقة البحر الأبيض المتوسط - Historias reales de los pueblos del Mediterráneo 

May 7, 2013
Notre volet estival sur le theme de l’union méditerranéenne debute avec une Utopie du siecle dernier: ATLANTROPA

Atlantropa, also referred to as Panropa,[1] was a gigantic engineering and colonization project devised by the German architect Herman Sörgel in the 1920s and promulgated by him until his death in 1952. Its central feature was a hydroelectric dam to be built across the Strait of Gibraltar, which would have provided enormous amounts of hydroelectricity[2] and would have led to the lowering of the surface of the Mediterranean Sea by up to 200 metres (660 ft), opening up large new lands for settlement, for example in a now almost totally drained Adriatic Sea.

Sörgel saw his scheme, projected to take over a century, as a peaceful European-wide alternative to the Lebensraum concepts which later became one of the stated reasons for Nazi conquest of new territories. Atlantropa would provide land and food, employment, electric power, and most of all, a new vision for Europe and neighbouring Africa.

The Atlantropa movement, through its several decades, was characterised by four constants:[3]

Active support was limited to architects and planners from Germany and a number of other primarily northern European countries. Critics derided it for various faults, ranging from lack of any actual cooperation of Mediterranean countries in the planning to the impacts it would have had on the historic coastal communities left stranded inland when the sea receded. The project reached great popularity in the late 1920s/early 1930s, and for a short period again, in the late 1940s/early 1950s, but soon disappeared from general discourse again after Sörgel’s death.[4]

The project

Outline map of the various hydroelectricity and land reclamation projects combined in Atlantropa.
Soergel’s proposed new locks at the Gibraltar Dam.

The plan was inspired by the coeval understanding of the Messinian salinity crisis,[5] a pan-Mediterranean geological event that took place 5 to 6 million years ago.[6] The contemporary geologists proposed that the large salt deposits surrounding the Mediterranean coast were the result of its partial isolation by a shrinking of the seaways connecting to the Atlantic. Today it is a majority opinion among geoscientists that the Mediterranean underwent a significant drawdown during that period.[7]

The Utopian goal was to solve all the major problems of European civilization by the creation of a new continent, “Atlantropa”, consisting of Europe and Africa and to be inhabited by Europeans (who were supposed to flourish under the effects of the climate changes, as opposed to Africa’s native populations). Sörgel was convinced that to remain competitive with theAmericas and an emerging Oriental “Pan-Asia”, Europe must become self-sufficient, and this meant possessing territories in all climate zones. Asia would forever remain a mystery to Europeans, and the British would not be able to maintain their global empire in the long run – hence a common European effort to colonize Africa was necessary.[8] The lowering of the Mediterranean would enable the production of immense amounts of electric power, guaranteeing the growth of industry. Unlike fossil fuels, this power source would not be subject to depletion. Vast tracts of land would be freed for agriculture – including the Sahara desert, which was to be irrigated with the help of three sea-sized man-made lakes throughout Africa. The massive public works, envisioned to go on for more than a century, would relieve unemployment and the acquisition of new land would ease the pressure of overpopulation, which Sörgel thought were the fundamental causes of political unrest in Europe. Sörgel also believed the project’s effect on the climate could only be beneficial.[9] The Middle East under the control of a consolidated Atlantropa would be an additional energy source and a bulwark against the Yellow Peril.[10]

The publicity material produced for Atlantropa by Sörgel and his supporters contain plans, maps, and scale models of several dams and new ports on the Mediterranean, views of the Gibraltar dam crowned by a 400-metre tower designed by Peter Behrens, projections of the growth of agricultural production, sketches for a pan-Atlantropan power grid, and even provision for the protection of Venice as a cultural landmark.[11] Concerns about climate change, earthquakes, attacks and the fate ofAfrican culture were often ignored as being unimportant.

After the Second World War, interest was piqued again as the Western Allies sought to create closer bonds with Africa and combat communism, but the invention of nuclear power, the cost of rebuilding, and the end of colonialism left Atlantropa technologically unnecessary and politically unfeasible, although the Atlantropa Institute remained in existence until 1960.[11]

Most proposals to dam the Strait of Gibraltar since that time have focused on the hydroelectric potential of such a project, and do not envisage any substantial lowering of the Mediterranean sea level.

In fiction

In Gene Roddenberry's novelization of Star Trek: The Motion Picture, the Strait of Gibraltar has been dammed. Roddenberry may have borrowed the idea from Sörgel via the popular works of Willy Ley, whose book Engineers’ Dreams describes both Atlantropa and Sörgel’s other grand design, the forming of an inland sea in central Africa.[11]

A similar idea has a central role in the 1950 novel by Soviet science fiction writer Grigorii Grebnev The Flying Station, popular in the Soviet Union in the early 1950s and translated to Hebrew. It depicts a future where Socialist Revolution is triumphant worldwide and leads humanity to undreamed happiness and prosperity, but must still fight off neo-Nazi remnants who skulk near the North Pole and plot to sabotage the Revolution’s most prestigious project – the erecting of a huge dam at Gibraltar. The book took up the technical details of Sörgel’s idea while diametrically reversing its underlying geopolitical implications.

In Philip K. Dick's classic 1962 alternate history novel The Man in the High Castle, mention is made in passing of Nazi Germany draining the Mediterranean as one of several gargantuan projects.

The Mediterranean sea is also mentioned as drained in Sir Arthur C. Clarke's Rendezvous with Rama, in the context of the spectacular archaeological discoveries it enabled.

David Mason's The Shores of Tomorrow (1971), with the theme of conflict between numerous timelines of alternate history that found means of invading each other, includes a technologically-advanced world where a project similar to Sörgel’s had been realised thousands of years ago, with the former Mediterranean sea bed transformed into fertile agricultural land. During a cataclysmic power struggle the dam at the Gibraltar-analogue is blown up and the valleys flooded by the Atlantic waters, with immense loss of life.

Discussion of the project rates a chapter in John Knittel’s 1939 novel Power for Sale.

There is a passing reference to a huge hydroelectric dam spanning the Strait of Gibraltar in the alternate history novel Under the Yoke by S. M. Stirling. Although the word “Atlantropa” is never used and there is no mention of lowered sea levels in the Mediterranean, Stirling’s novels of the Draka are something of an inversion of Sörgel’s vision, in that it is Africa that subsumes Europe to create the new composite continental entity, with the guiding light coming from Pretoria rather than Munich.

In the Dan Simmons novels Ilium and Olympos the Mediterranean has been dammed and drained.

In the PC game Railroad Tycoon II: The Second Century, a dam is built across the Strait of Gibraltar in one of the missions.

In the Harry Turtledove novella “Down in the Bottomlands”, the area of the Mediterranean Sea is a desert through natural causes - the Strait of Gibraltar had naturally closed thousands of years earlier. The story has the protagonist try to stop a terrorist plot to open up the natural dam to the Atlantic Ocean with a nuclear weapon.



April 25, 2013

Some of the first Nabhies i did. Exchanged them with eggs, good wine and great cheese in Greece (summer 2011)

January 19, 2013
KOM.POST/ L’ecran de la caverne

Streaming de l’écran de la Caverne 
Le symptoma grec avec la participation d’Alain Badiou, Etienne Balibar, Toni Negri, Jacques Rancière, Frédéric Lordon, et bien d’autres. Trois jours de rencontres avec des nombreux artistes et des militants de plusieurs pays 
programme du colloque: 

« L’écran de la caverne »
« L’écran de la caverne » est le nom d’un lieu. Il n’est cependant ni plat, ni sombre. Il n’a pas non plus prétention à cacher, à enfouir ou à illusionner. Il se présente comme un espace à dimensions multiples : de rencontre et d’échange non moins que de lecture et de visionnage. Pensé en parallèle du colloque, il pourra tout autant s’en éloigner que le croiser ou le prolonger. A partir des paroles déposées dans l’amphi X, il déploiera sur ses parois des images rapportées des rues d’Athènes ou de Thessalonique, des mouvements de foule filmés dans des documentaires, des vidéos d’artistes ou des œuvres militantes, des flux de paroles qui peuplent les blogs et médias alternatifs grecs et dans lesquels vous pourrez naviguer à tout moment entre 10h et 18h grâce à des postes d’ordinateurs mis à votre disposition. Une table dédiée aux maisons d’édition indépendantes vous permettra de consulter les ouvrages associés aux principales thématiques du colloque et à leurs intervenants, tout comme elle vous donnera accès à certains textes inédits en français ou en grec. Enfin, et parce qu’une caverne ça sert aussi à se restaurer à l’abri des prédateurs : nous vous proposerons des boissons, fraîches et chaudes, ainsi que des douceurs.
Fonctionnement de « L’écran de la Caverne »
Dramaturgie et scénographie : Nicolas Fretté, Aikaterini-Sofia Georgiadou, Camille Louis, Coralie Rouet
18 et 19 Janvier, de 10h à 12h et de 14h30 à 17h
En parallèle de chacune des tables rondes, vous trouverez dans cet espace : une programmation associée de films et vidéos une sélection de documents et ouvrages à consulter sur place une navigation à travers des sites et blogs associés aux thématiques abordées une archive immédiate des portraits filmés, au même moment, en salle A029 un dispositif de discussions et débats à échelle réduite et hétérogène : la fabrique du commun des boissons chaudes et froides
18 et 19 Janvier, de 12h15 à 14h00 :
Dans la salle A029, sont convoqués des groupes de 1 à 5 personnes participant au colloque en tant que conférencier, étudiant, personnel de l’université, artiste invité…pour un moment de discussion «en rebond» des thématiques proposées par les demi-journées du colloque. Ces portraits sont filmés, collectés pour un film consacré à la question de «l’exposition hétérogène des savoirs» mais aussi et surtout retranscrits en direct dans la salle A028. Le texte qu’ils composent devient le terrain de nouveaux débats et discussions au sein des tables de la fabrique du commun que des visiteurs plus lointains peuvent aussi suivre par streaming.
La « fabrique du commun ». Ce dispositif de rencontres et débats invite les intervenants de la journée (ceux passés du matin et ceux à venir de l’après-midi) à échanger de façon plus informelle avec l’ensemble des participants du colloque (étudiants, professeurs, autres intervenants, visiteurs curieux…). 4 tables pouvant accueillir chacune entre 4 et 6 personnes sont disposées dans la salle A 028 et deviennent l’espace de travail temporaire de ces groupements hétérogènes. L’ensemble des discussions est archivé par l’équipe de la caverne et, afin que chaque visiteur puisse suivre le fil des discussions croisées, y compris lorsqu’il n’est pas à une table, « l’écran de la caverne » projette en temps réel les notes et synthèses de chacune des tables. Petit à petit, un mur polémique se dessine comme lieu d’une parole collective, recueillie depuis des singularités au travail. Une façon de rendre visible la charge « critique » et, de fait, créative, d’une pensée en temps de crise.
Politique, cet espace ne le sera que s’il est effectivement peuplé des polites que nous sommes tous. Il s’agira dès lors que nous occupions le terrain comme espace de travail et de dialogue. Vous êtes donc tous invités à peupler l’écran de la caverne en nous envoyant d’éventuels textes inédits, des liens vidéos, des photographies etc. ; choisis parce que pertinents pour l’occasion.
Écrivez nous à : symptomecaverne@gmail.com
Le Symptôma Grec
Université Paris 8 et École normale supérieure de la rue d’Ulm du 18 au 20 janvier 2013.
Organisé par le Département de philosophie de l’Université Paris 8 et le Laboratoire d’études et de recherches sur les logiques contemporaines de la philosophie (LLCP EA 4008) Avec l’Université Aristote (Thessalonique), l’Université Panteion (Athènes), The Birbeck Institute of the Humanities (London), Kingston University (London), L’Académie des sciences / Institut de France.

Streaming de l’écran de la Caverne 

About KOM.POST / 

Founded in January 2009 in Berlin, kom.post is a nomadic interdisciplinary collective made up of 30 international artists and researchers. Kompost members base their research and actions on process. They attach less importance to the production of a collective work than on setting in motion a “terrain” for interrogation which activates creative “micro-groups”. As the work methods are diverse, each member is able to nourish, prolong, and counterbalance the research of another member or that of the entire group, following the principles which are dear to kom.post : the “exchange of knowledge” and the “reprise” - or re-take. The roles of author, contributor, and spectator are constantly exchanged, thereby maintaining the members in a continuous research on forms of creation, transmission and artistic sharing, still permitted and valid in these “2.0 times”. kom.post presents its creation (performances, new form of mediations, exhibition…) in various European and international events.


December 10, 2012
DIMITRIS PAPADATOS On how the message fucks the medium


Stolen images, bended script codes, distorted web formats, ready mades
non-objects, and poetic trolling - the constant flow of “Dimensions
Variable” from ultra prolific Dimitris Papadatos expends, crystalizing
the beauty of a supra contemporary world, as perishable and
ungraspable as “here-and-now”.

Straight at the top of the rising wave of open source formatting and
web scripture, which provides everyone with the advantage and
embarrassment of a new pair of clumsy powerful harms that can reach globally,
Dimitri Papadatos has walked in the virtual world with the arrogance,
the sharpness and lucidity of a romantic enfant terrible - the curiosity
and perseverance of an artiste paysagiste, feeding himself with
everything perishable in an aborted eldorado, occupied until recently
solely by gold seekers and anonymous rioters.

The recipe of his tour de force:
- An absolute commitment to intangible forms - anti-matter that can’t
be bought, nor categorized or explained.
- A constant disdain for the Ego, powered by the contemplative
attitude of an erudite.
-The conviction that by brain processing the output of all
processors -and which ever algorithm is in use - the message fucks the

During this Week Boom-Wow! explores in a single post the latest works from the constallation Dimitris Papadatos.

And as a starter, Boomwow meets Dimitris on one of his favorite battleground at the occasion of his closing day on #000FF online gallery. Here is the transcription of his interview.

3Like · ·


July 13, 2012
TWO LETTERS AND ONE SONG/Published in "L'Impossible - L'autre Journal"

'Lettre d'Athenes' - published in “L'IMPOSSIBLE” N.1 14-03-2012


Cher Michel,

Je me suis assis au café pour t’écrire. Deuxième bière déjà. Myrto m’interpelle à dix mètres, du beau milieu de la rue: « Hey Greg… de retour ? Tu nous donne encore combien de temps de liberté. Deux mois, trois mois ? » Avec son grand sourire d’enfant, son visage peint de carnaval. Derrière elle, une troupe de joueurs de tambours, tous déguisés en ours marchent en cadence. Suivis de trois gamins gitans morts de rire.

Ils vont chez Elias, dit Anthropos (l’humain), un théâtre-bar fait main dans le quartier délabré de Metaxourgio. Un des nombreux collectifs improvisés du centre ville…feu d’artifice d’art de rue, musique, rakis, poésie…miel, alcool, gingembre, tabac. Tout est produit aux alentours, tout est partagé.

Les jeunes Athéniens cumulent les séminaires pour ne pas déprimer. Des séminaires pour tous et par tous. On apprend des langues, la musique, la photo, planter des arbres, danser. Les plus beaux sourires, au pays de l’avenir le plus gris d’Europe ! Le contraste te tire des larmes de joie et de tristesse à longueur de nuit, aux grés des histoires de ces enfants, coincés dans une ville dont ils ne peuvent plus s’échapper.

Myrto s’est approchée, elle me souffle à l’oreille l’air des Cyclades :

"Tes doux yeux me disent que je meure pour qu’ils me pleurent"

Tu connais ? Les chansons des iles, naïves et intègres, comme des cailloux polis par les vagues.

Athènes ville ruinée…Athènes ville d’espoir.

J’ai passe la matinée affairé dans le quartier résidentiel de Kolonaki… là-bas, on ne parle plus que d’argent. Les boutiquiers se plaignent, partout la protection policière, ca sent l’escroquerie, ou l’honnêteté misanthrope. On lit les journaux, on insulte la classe politique, on accuse les très riches, on attend la faillite du pays, et le retour des capitaux prives expatriés.

 On parle toujours aussi fort ici, on travail, on pollue. Mais surtout on attend.

 Les prisons sont pleines, j’ai croisé des connaissances mondaines qui, relâchées quelques jours, viennent déjeuner avant de retourner au trou. L’humour est acide.

L’idée d’un malentendu européen est à la mode dans cette partie d’Athènes. Un malentendu qu’il faut résoudre vite. Sur les téléviseurs dans les terrasses des cafés, s’alternent à longueur de journée des courbes de marché, des chiffres, des images de machines à imprimer les billets, de machines à trier des pièces.

L’impossible ; le droit pour chaque homme de vivre en respect avec les arbres, En respect avec les autres, de protéger la mer, de protéger ceux qu’on aime. Le désir d’être différent, d’être faible, d’étudier le vent, le désir

de justice, d’égalité, le désir d’être Humain. Pas riche, Humain.

Il y a une semaine, depuis le théâtre odieux du Parlement, le gouvernement provisoire à ré- expliquer aux grecs ce qu’est le monde. En deux mots : Il faut être rentable, surtout quand on ne produit rien. Il faut rentabiliser l’air, les dauphins…tout transformer en euro. L’euro c’est le sang qui parcoure les rivières de l’Europe. Le premier ministre a expliquer que la politique et l’économie c’est pareille. Et la loi dans l’Oikos Européen, ce sera dorénavant boire du


J’ai en tète ces garçons croises dans les émeutes du printemps. Ils dévastaient tout. Quand ils trouvaient de  l’argent, ils le brulaient. L’un d’eux m’avait dit « si ma mère me voyait, ca la mettrais tres en colère ».  Je me souviens avoir sondée ses yeux brulés par les lacrimos pour lire l’avenir…aucune colère. Autre chose.

Derrière les murs des quartiers riches il y’a une histoire réelle, un mariage dans les années 80 qui a mal tourné. La Grèce est en fuite, elle a jette dans une valise ses bijoux, s’est refugiée dans une villa des iles. Un mari, rendu fou par ses dettes…des lettres, des menaces, des procès. Les enfants ça ne les concernent déjà plus.

Athènes est ruinée Michel. Comme une barque de ferraille a l’abandon. Dans quelques mois sa surface sera couverte de cloques qui exploseront au soleil de l’été. Il y a quatre ans, les arbres des magnifiques collines de l’attique ont flambés.  Suicide en masse des arbres : mauvais présage.

« Dans une démocratie, chaque génération nouvelle est un peuple »

Le début :

Alexis est assis la, avec ses copains et copines d’école, ils s’embrassent,  ils rient. Deux policiers l’approchent.  Des insultes volent. L’un d’eux sort sont flingue, il tire.

Je réécris ça…

A 21 heures, Le soir du 6 décembre 2008, dans une rue Piétonne du quartier d’Exarchia, les dieux indécis ont exigé -comme pour la guerre de Troie- que les hommes désireux de forcer le Destin se commettent à l’irréparable : assassiner un enfant.

Les habitants du quartier ont colles aux angles des façades des plaques qui rebaptisent la rue. Elles sont collées cote à cote avec les plaques officielles bleues de la mairie. Le nom d’Alexis, des dates, des détails…un peu moins bien coupés que les plaques officielles mais pareilles.

On pourrait tout imaginer, explorer tous les possibles, mais l’indignation s’est réduite timidement a l’imitation du connu et a déjà trahis son attachement a l’ordre. Ce sentiment sur lequel les professionnels de l’Etat s’appuieront pour appeler demain au vote.

Tu sais, je pensais à quelque chose. En fait, je ne pense qu’à ca : «Quand le peuple régnera dans la poésie, il sera prés de régner dans la politique aussi ».

J’ai vraiment l’impression qu’on est tout prés des fois. Qu’une larme, dans une réaction alchimique incroyable, va transformer la mer entière.

« Tu viens avec nous Greg ? » c’est Myrto…les gamins autour tirent sur ma veste. C’est une journée contradictoire, noble, bleue une journée qui ne connaît pas sa beauté. Une journée grecque.

t’embrasse fort

‘Lettre d’Athenes’ - published in “L’IMPOSSIBLE” N.5 June 2012

J’ai rencontré Marianne à l’angle d’une rue. Elle était assise et elle pleurait. Il faisait horriblement chaud. Au début elle m’a insulté, et puis je l’ai emmenée boire un jus d’orange frais.

Marianne, assise en face de moi, parle sans respirer:

"Je suis une traître. Quelqu’un qu’il faut arrêter immédiatement,qu’il faut faire passer aux tribunaux. Parce que moi, je m’en fous de ce système de merde…Sauver l’économie, quelle idée de naze. Sauver quoi? Penser la possibilité de la gestion de tout…Mais ça nemarchera jamais mon pote!" Elle crie. "Je déteste les petits bourgeois, c’est bien fait pour eux! bien fait! Regarde-les, regardes comme ils ont l’air bête maintenant. Regardes comme ils sont effrayés!"

A côté de nous un couple se lève, l’homme murmure quelques mots fâchés au dessus de Marianne. Elle continue à me parler comme s’il n’existait pas "Tu imagines…cinquante euros. Cinquante euros pour la montre en or de mon grand-père! Je pensais qu’elle valait plus. C’est quoi cette économie pourrie qui tient même pas compte de la valeur sentimentale qu’on attache aux objets?"

Je la regarde dans les yeux un long moment… Je me demande si les Grecs sont conscients en permanence de l’étymologie des mots qu’ils emploient. Des mots comme "Oikonomia", il faut les prononcer une fois lentement, juste une fois en pensant à ce qu’ils signifient. Oikos-nomos… L’enjeu de l’Europe, ses problèmes, son avenir. Depuis trois ans, les mots comme “économie” et “politique”, on se les balance les uns à la face des autres, à longueur de journée. Marianne parle depuis une heure. Je regarde autour de nous…les habitants d’Athènes sont à bout. ils tiendrons à peine jusqu’aux elections.

Sueurs froides…Quitter la ville au plus vite.

Dans le port du Pirée à l’aube, le bateau manœuvre entre les tankers Chinois et les navires de croisière Américains. C’est un vieux bateau, un tas de ferraille tremblant et rassurant. Sur le quai, une jeune fille qui vient de se réveiller et son chien noir qui la regarde piocher des habits dans un caddy rempli de vetements, de sacs plastique et d’affaires de couleurs. Elle a l’allure propre aux marcheurs d’Espagne; Ceux qui ont traversé l’Europe à pied pour venir honorer le peuple grec. Que sont ils devenus? Pourquoi les ai-je oubliés? Je pense à Zizek il y a deux jours, en sueur tirant sur son Tshirt et arrondissant ses numéros préférés.. le café sans lait et le café sans crème, Tom&Jerry et la course dans le vide, la possibilité d’un “happy end” héroïque. Comme le bateau s’éloigne, je devine derrière les fissures des immeubles un monstre d’une taille et d’une force inimaginable, un monstre qui déteste la lumière, et qu’on a dérangé dans son confort.

Un large panneau publicitaire doré par le soleil du matin, donne le ton d’un rêve brisé: "On avance vite, dans le confort et dans le luxe."

Ma soeur m’a dit de me tenir droit la derniere fois que je l’ai vu.Tous les conseils sont devenus bavardage, toutes les predictions sont fausses,cette droiture c’est tout ce qu’il me reste.

Île d’ Anafi - j’ai passé la nuit a kalamiotissa. C’est une petite chapelle perchée au sommet du second plus haut caillou d’Europe. Il faut deux heures de marche entre les rochers pour grimper ici. Le muret de la petite cour où je me suis assis se prolonge à la verticale par 450 mètres de falaise abrupte. J’ai  passé l’après-midi à regarder la mer, et à observer un nid de fourmis. Et quand la nuit est tombée, Il a fait trop froid et trop noir pour dormir.

Les îles ce sont mes sœurs géologiques, l’Egypte, mon père. New York,mon frère, Athènes est ma maitresse. Paris est aussi ma maitresse. Ma mère, c’est la terre. La lune est un doux rappel de la mort. Avec la mer et les abeilles, on parle souvent et on tombe d’accord.

Les nuages et les vagues me font rire. Les gens, je ne les comprendspas vraiment.

Au matin, la lumière a tranché d’abord le monde en deux, la terre et les cieux et puis une à une, a détaché toutes les autres choses.

Être grec c’est avoir la capacité de faire surface, d’avoir l’assurance innée que la surface contient le chaos.

La surface des peaux en marbre tendu des statues.

Les étages transparents du nouveau musée de l’Acropole,

la surface qu’on verrait de soi en se quittant.

La surface de l’Histoire.

La surface des mots de la langue grecque.

Des lieux d’équilibre improbable.

 Vers midi je rencontre Tassos au village. On revoit une dernière fois les détails de notre plan. L’arrangement des terrasses de terres cultivables, l’angle du petit amphithéâtre, les matériaux des constructions éphémères, les lieux de fonctions. D’ici deux ans, sur cette île perdue au large de Santorin, des jeunes d’Athènes viendront créer, échanger, cultiver, présenter leur savoir faire.

Georges et Giannis s’assoient avec nous, ils sont couverts de taches de chaux avant l’ouverture imminente de leur petite ouzerie. Ils ont le calme et l’assurance prometteuse et si typique de leur génération. Giannis m’explique le parti communiste Grec. Il se souvient que dans son livre d’Histoire la guerre civile ne prend que trois pages. La blessure ne s’est jamais vraiment refermée.

"Deux générations gardent le silence sur les évènements del’après-guerre. Dans ces conditions, c’est très difficile d’imaginer un projet de gauche national. Nous, on essaye de se détacher d’une histoire qui prend notre génération en otage, parce qu’on sait qu’on ne peut pas vivre sans un projet communautaire, sans tenir compte du monde dans son ensemble. La gauche grecque, il faut absolumentl’inventer.

Il faut nous aider. Tu sais, Anafi était une île d’exil. Les communistes étaient envoyés ici pendant la dictature des années trente. A Anafi ils ont formé une communauté qui a activement participé à l’organisation de l’île. Ça, c’est terminé dans la famine, mais bon ça c’est une autre histoire”.

Ce matin, j’ai construit ma tente de tissu sous un arbre. Et puis j’ai passé trois heures dans la mer, seul.

J’ai ramassé quelques cailloux, les mêmes que ceux que je dessine et que j’échange a Athènes contre d’autres objets, des gâteaux..ou au café, chez les marchands de livres.

Je repars ce soir à Athenes. J’ai pris mon Kastoriadis ici, Thucydides aussi…

Mais je crois que c’est un moment d’action.

Je n’ai jamais été aussi fier de mon pays, de ses doutes, de la douceur infinie de sa lumière, de la patience de son peuple. Les grecs - sans démordre, sans lâcher prise et parfaitement sérieux, pausent sur la table du monde et sous le regard époustouflé de ceux qui n’y ont jamais cru, la question de la liberté.

Alors une fois de plus il faut choisir, être libre ou se reposer.

May 5, 2012
last day campaigning for a candidate that does not exist among people that have no right to vote.

last day campaigning for a candidate that does not exist among people that have no right to vote.


April 30, 2012

VODE is a virtual political campaign lunched by artist Theopsy in April - Mai 2012 during the national election in Greece. 
In an attempt to infiltrate in real time an historical event and displace its content, the artist has used the means of a classical campaign to promote a fictional character through social medias, videos, speeches, press and posters.
During this campaign, Theopsy as constantly leaped between real and unreal, providing a diversity of contradictory but yet complementary actions ranging from a simultaneous exhibition of art works in two socially opposite venues, the art direction of a very real campaign for a very real eligible politician, and the active participation to radically opposite political think tanks.

"By hijacking the key object or event on which an historical sequence is based, by hijacking an historical "praxis" and transfer it into a non-historical context, i believe we can create a new point of observation, from which such an historical sequence would simply reveal its porosity.
The result of such an experiment could be to a better understanding of the synchronicity principles that relate each one of us to any Event, historical or not, and somehow initiate a process of taking back from history what belongs to us.” 


April 10, 2012

Theopsy/ VODE - April 2012 from theopsy on Vimeo.


Theopsy Presents 40 of his posters in a simultaneous show at Stigma lab and President Hotel - (April 1-27, 2012) and launches the Vode campaign around the city of Athens, an “absurd existential political campaign that echoes the National elections held in Greece during the same period”.
more in: boom-wow.tumblr.com

December 31, 2011


Platon “Laws” book VII

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