jeudi 22 mars 2018

Emmett Grogan is at 16:36
The congress on the Dialectics of Liberation was an international congress organised in London between 15 and 30 July 1967. It was organised by the American educationalist Joe Berke. The scope of the conference was to "demystify human violence in all its forms, and the social systems from which it emanates, and to explore new forms of action".
In 1965 R. D. Laing, and colleagues, came together as a community for themselves and people in a state of psychosis. As a result, Kingsley Hall became home to the Philadelphia Association and one of the most radical experiments in psychiatry.
In January 1967, International Times announced that "This summer, in July, the Institute of Phenomenological Studies will make the move. A congress will convene in London on the Dialectics of Liberation. The congress intends to examine and expose the system of societal and inter-personal influences that converge on us from birth. This means clearing the field of all preconceptions regarding who, what and where we are. as well as all manner of socially convenient academic conventions that are propped up by politics, ideology and false philosophical justifications. For we are taught, and coerced, to see things through a filter of politically arrived at and socially sanctioned lies. The entire world as we "know" it must be demystified."

Emmett Grogan, the San Francisco Digger, stole the show when he gave one of Hitler’s speeches as his own and received a rapturous reception.
Be anything you like: Be madmen, drunks, and bastards of every shape and form. But at all costs avoid one thing: Success. If you are too obsessed with success, you will forget to live.

Love and Living, Thomas Merton

Richard Hambleton

lundi 19 mars 2018

downtown street art, montreal 2018
en exclusivité mondiale sur Crasses
mdames et msieurs
l'oreille de Van Gogh !

dimanche 18 mars 2018

samedi 17 mars 2018

street, montreal 2018
street, montreal 2018
street, montreal 2018
street, montreal 2018

Revolutionary Animism holds that rather than seek solutions within the same paradigm that brought us to a place of inequality, coercion, and dynamics of delirious and autophagic growth, we must turn our attention back to the ever-present ground-of-all-being.

La poésie est l'organisation de la spontanéité créative en tant qu'elle la prolonge dans le monde. La poésie est l'acte qui engendre des réalités nouvelles. Elle est l'accomplissement de la théorie radicale, le geste révolutionnaire par excellence. 

l'entrevue avec Emmet Grogan commence à 31:39

vendredi 16 mars 2018

rouille/rust no.1
Take me to your leaders !

mercredi 14 mars 2018

mardi 13 mars 2018

there's a way you can fidgit the parameters to get a so so decent english trad

Perhaps surprisingly for a film populated almost entirely with beggars, Palms has nothing to do with charity. Its real subject is proximity. In its relentless depiction of life at the margins and with its discomfiting jabs of authenticity, it is an affront to personal space. Why should this be so?
Part of the answer comes in a quote from John Berger’s essay Steps Towards a Small Theory of the Visible, in which, considering the current omnipresence and elusiveness of images, he describes the system outside of which the people in Palms exist. What are depicted, he says, “used to be called physical appearances because they belonged to solid bodies. Now appearances are volatile. Technological innovation has made it easy to separate the apparent from the existent. And this is precisely what the present system’s mythology continually needs to exploit. It turns appearances into refractions, like mirages: refractions not of light but of appetite, in fact a single appetite, the appetite for more.”
In contrast to these fugitive appearances, there is no doubt that in Palms we are in the company of solid bodies, maimed and damaged bodies even, not seeking our attention or intervention, utterly indifferent to us at our safe distance, yet completely present. They feed no appetite, create no wealth, yet still they stubbornly exist, heavy with the affront of parasitic life.
One of the usual lures of cinema is the attraction of journeying in safety to places and with people you would not otherwise meet. Palms presents you with no seductive journeys. It does not care about you and it does not indulge you. It leaves you with nowhere to go except back on yourself, making you keenly aware of your own reaction – your disgust, your righteousness, your shame, the boundaries of your love. Watching Palms, you are no longer the centre of the world. How can you incorporate this place and its people? At times, the film even looks like it comes from another century. The flashes of modern clothing and accessories – a leather jacket, a handbag, a pushchair – belonging to people in the streets, seem incongruous.
In his words, with Palms, Aristakisyan presents a film of outsiders objectionable to the system. What makes them so? An answer comes at the beginning of Part Two with the epileptics, of whom he says that they “proved to be objectionable because they didn’t need to go anywhere. They were at the border between worlds and could see clearly.” It is this lack of need, this appetite only for necessities, that is objectionable. 

A short excerpt from the Booklet essay

Natalia LL
Post-consumer Art, 1975
Palms (Ladoni) (1994)
Palms is Aristakisyan's astonishing portrait of people who live on the margins of life and exist outside normal society. Profound, spiritual and hallucinatory, Palms is remarkable at every level and one of the most visionary films of recent years.

Narrated by the director addressing his unborn son, the film is compassionate, revelatory and bold in its originality and was awarded the NIKA (Russian Oscar) for Best Documentary in 1994.
For what you call the Law is but a club of the rich over the lowest of men, sanctifying the conquest of the earth by a few and making their theft the way of things. But over and above these pitiful statutes of yours that enclose the common land and reduce us to poverty to make you fat stands the Law of Creation, which renders judgement on rich and poor alike, making them one. For freedom is the man who will thus turn the world upside down, therefore no wonder he has enemies.


True freedom lies where a man receives his nourishment and preservation, and that is in the use of the earth…And so, from the thief upon the highway to the king who sits upon the throne, do not everyone strive, either by force of arms or secret cheats, to get the possessions of the earth one from another, because they see their freedom lies in plenty, and their bondage lies in poverty?…A man had better to have had no body than to have no food for it; therefore this restraining of the earth from brethren by brethren is oppression and bondage; but the free enjoyment thereof is true freedom.

Gerrard Winstanley, The Law of Freedom