*
*
*
Squirrels dancing in trees
Made up on purpose
Forensic heeders
In hidebacks
Squirting payments
And joking remnants
Off the parol.
Hush hush
And on board
Notorious seekers
Stranded on top
Of the mob
To rob.
(Break)
(Right that way?)
reside
on the other side
o.k.
we got to think
the war is over
but shut up
declaration misunderstood
manouver
you silly fuck
think you are?
As required
Some machines
Are humanity
Builtinsanity
Proposeit´sdone
Noshreakback
Youllstaywithus
And
We´ll
Have
A
Nice
Party,
Right?
---
Good.
Go tell the other side
That news
Shall not be withdrawn
We won´t prepare
Let the hype
Come over
*
*
*
(march 2007)
Saturday, January 31, 2009
She Spacehomer (5) - After The Snow
“That fish is too salty for me.“
“But you need salt, Mel. We haven´t had salt for 2 days, so you need salt now.”
“I tell you, it doesn´t feel right. The way up here I´ve always been avoiding the stuff with salt in it.”
“So maybe you´re needing it really, and you´re already so much used to not having it, it would blow up the whole of the tension that keeps you together.
Let me touch you.
You´re completely stiff.”
“I´m stiff? That from a dehydrated, drug using tension-block like you.”
“That I´ve been for too long, but no more.
Can´t you get the old pics off your mind?”
“It´s no pics, Elaine.
I´ve got a full-body feeling of it in me. O.k., it´s a sort of memory, but it´s plastic-elastic and I tell you: you might think you´re doing fine, but you´re just doing better.”
“Guessed I´ll take that one, it´s got nothing to do with you.
For how long you think you´ll play the untouchable.”
“O, you´re so categorizing. Stop it!
It hurts my ears.
Then give me the fucking salt.”
“No.”
“No? So you just want to piss me off, or what?”
“No, but you just said yes to please me.
I want you to understand and feel why it´s important.
I want you to want it.”
“You´re a real freak then, huh?
O.k., it´s right, you are right , you´re damn bloody well right.
That´s what you want to hear?”
“No, it´s not for me and I also don´t give shit for your health.
I just can´t stand certain kinds of contradiction.
It freaks me out.
Here´s the salt.”
“Better explanation, better understanding.”
“Hey, you two really make a nice couple.
You seem to have concentrated 30 years of blind marriage in half an hour I was gone.”
“Cut it, what´s up?”
“The president, Mel.”
“The president is the guy I´m going for. He´s up, he´ll be down.”
“Bingo by Elaine, chances have never been that good. He´s up, just awoke from a big sleep.
Found that piece of newspaper, front page for the President --- and his dog,
cute, huh? And it says, in his sleep he decided to give the dog a spiritual teacher.”
“But you need salt, Mel. We haven´t had salt for 2 days, so you need salt now.”
“I tell you, it doesn´t feel right. The way up here I´ve always been avoiding the stuff with salt in it.”
“So maybe you´re needing it really, and you´re already so much used to not having it, it would blow up the whole of the tension that keeps you together.
Let me touch you.
You´re completely stiff.”
“I´m stiff? That from a dehydrated, drug using tension-block like you.”
“That I´ve been for too long, but no more.
Can´t you get the old pics off your mind?”
“It´s no pics, Elaine.
I´ve got a full-body feeling of it in me. O.k., it´s a sort of memory, but it´s plastic-elastic and I tell you: you might think you´re doing fine, but you´re just doing better.”
“Guessed I´ll take that one, it´s got nothing to do with you.
For how long you think you´ll play the untouchable.”
“O, you´re so categorizing. Stop it!
It hurts my ears.
Then give me the fucking salt.”
“No.”
“No? So you just want to piss me off, or what?”
“No, but you just said yes to please me.
I want you to understand and feel why it´s important.
I want you to want it.”
“You´re a real freak then, huh?
O.k., it´s right, you are right , you´re damn bloody well right.
That´s what you want to hear?”
“No, it´s not for me and I also don´t give shit for your health.
I just can´t stand certain kinds of contradiction.
It freaks me out.
Here´s the salt.”
“Better explanation, better understanding.”
“Hey, you two really make a nice couple.
You seem to have concentrated 30 years of blind marriage in half an hour I was gone.”
“Cut it, what´s up?”
“The president, Mel.”
“The president is the guy I´m going for. He´s up, he´ll be down.”
“Bingo by Elaine, chances have never been that good. He´s up, just awoke from a big sleep.
Found that piece of newspaper, front page for the President --- and his dog,
cute, huh? And it says, in his sleep he decided to give the dog a spiritual teacher.”
Wednesday, January 28, 2009
Tension, Words and Incorporation of Oppression
I´m watching Michael Winterbottom movies theses days.
I have never seen such a softness in showing such harsh realities.
It makes feel it, it´s accessable for the information-overload type of western consumer as well as for anybody else.
The camera movements are very lively, without any attempt in being sensational.
There is no need for it anyway, because the pictures he presents are so direct.
Changes of standcam, handcam, camera turns, panorama views, close-ups and their relation to the moves in the picture, people, animals, cars... are extremely organic. The observer seems to be part of the scene, still or moving.
In unpretentious ways the pictures themselves are very well framed, aesthetic without aestheticism.
I´m thinking about what a person can move in this world. How get along with the knowledge of what happens outside, and the knowledge that all of what happens is motivated from correlations of people´s inside.
Those who live in the peace-zones, are they already peaceful enough, the culturalists of our times, peaceful enough to forget themselves and go out and report what kind of cruelty goes on in the world, reporting in ways that the journalists usually don´t have the format for?
I don´t draw such a strict line between the reporters of the various medias, as I include all communication into the media: written word, film, spoken word, art, ..., all is processing connectivity.
I´d be going to change people´s conscious about what is media.
I see the thoughtless thought that leads the hand to reach out for the cup of coffee as a medium.
The thought, it wants something, and one can check what lies behind it, at some assumed end of motivation networks, and check also if thoughts overload their own matter with too much chatter.
It is a bit like the money spent on filters within chimneys of industrial plants in the western countries. There are voices who complain that the investment would be more efficient if located in other countries´ plants, as in Germany it is only about filtering a few percents more, whereas abroad there might not be any filters used.
Others say that this is the mechanism of research, the development of the better and best device in its field.
Anyway the comparison lacks of evidence, as the person itself that creates a joint of content in a media form, carries the similar structure of organism like the addressed.
So the production of the cultural process, the cultural good, always transports its makers´ characteristics in quite a subtle way.
So changes of the person of the producer change the product in significant ways.
Then there is intiution.
Media is abstraction. It links people, and it can also overcome the splits within a person, a sender, because media itself entails form.
The in-formation is transported in various formats, some of which the producer is aware of, some of which he isn´t.
Of course the choice of format represents the senders´ state of organism, the organic process as a person and its environment, the cultural context.
The person of the sender, in the abstraction of the form used, can seem to disappear within the sending#s effect as noted consciously by the recipient.
But it still is there, in the choice of theme, material used, and all compositorial relations entailed in the assumed work.
The recipient, though, cannot completely divide the senders´ reality from the sender´s desires.
The medium might not tell about it.
That´s where interpretation starts, and anybody discussing or caring at all is already inside the
mirror-games that in-form him or her, that show various layers and networks of human organism and its interchange with environment.
There was a doc telling me, that there are ways of doing too much work on balance with one´s own organism, referring to yoga, meditation, breathing exercises.
He said I could loose the artist will of expression by it, and I found he was right.
In my character and life I found reason to do a lot of work in this direction though.
I´m a singer, and singing has a lot more to do with balance than with power, especially when the respective voice is powerful indeed.
This has to to with the fine overtones within the voice. They are the power we lately feel through ears and the whole of our organism as we – intuitively – associate with voices.
Strained voices will not only not last long, because the instrument gets hurt, and they also won´t be training neither a very flexible or subtle swing.
But they carry a quality of their own. They are rather likely to show roughness than an opera singer who sings about roughness, but can show it only in the correlation the art-form´s scales, as traditioned, and as being enabled by the used material.
The requirement of reaching the audience above an orchestra already evokes the production of overtones and therefore of a very fine balance producing it.
Expression, in these means, can rather take place in the correlation of meaning than in a lifelike appearance.
This is one reason why many people can accept opera as a beautiful art, but cannot adapt the meaning to the organism´s appearance on stage, because the art form forces to accept its own measurements.
Hence, abstraction in this context can be seen as a direct process of dissociation, here in the means of implanting processes of tension, programmaticly shifted into artificial relations.
----------
The tension of a stiffly strained voice is less flexible than a voice processed in a balance of contractions and releases, and, like bridges do it in the much slower frequencies of the climate changes, it bursts, when will of the constructor or vocalist hasn´t included space for the voice or the bridge to range, instead foring it into stiff frames.
The acknowledgement of physics in any cultural expression are potential scales of measure.
They show matters of evidences, they show effects, and humans are about to
first distinct the most various consequences in all means of organic awareness,
second to take decisions in the face of the awareness,
third sign responsible for it,
of which the latter is a delayed observation of the decisions´ effects.
When I look at Michael Winterbottom´s films I see clear decisions for the confrontation with
humans´ decisions and awareness on the organic effects, the technical realization has on the
spectator.
Responsibility means to cover for the most subtle kind of consequences of one´s own
doing, at least in letting oneself be confronted with it.
The sender, though, is not responsible for people who jump from a building when thinking the
alien attack in the programme is a real one.
Why now is this little article about “tension” when it does not present a continous line in approaching the theme, directly diving into it, developing a thesis in its context-contest with antitheses or some other model of choice, reflecting the will to present a fitting circle of evidences?
Because the fitting circle of evidence itself has a flashback on the theme it presumes to represent.
This is why analytic essays on “love” can be really funny.
This is also, because this article´s aim is not to present a theses that has a final verification as a picturesque result, as well as coordinates in space are not the space itself but the description of it, as they don´t even have a volume themselves.
Openness is a quality that need not stop readers from connecting themselves to thoughts presented.
Closed circle thoughts can feel like imprisonment.
The incorporated feeling of imprisonment is inflexible motivity.
One of the hints this article can show is, to take care of the physical results a media, incl. Art etc., implies for the recipient.
To take this into account, of course, sets high demands on the sender´s/producer´s/artist´s awareness of his or her own organism´s relationship with the work, namely, which tensional correlation it implies.
Beuys statement of everybody being an artist also, in this sense, entails the claim of each person being responsible for the development of awareness about the meaning of a medium, when being confronted with the direct experience of the relation of the organism towards its output.
In this context we enter the claim of people to become aware of the incorporate alienation within passivity.
Like Winterbottom´s films this is not only a proclamation of rights to be received, such as opportunity to be introduced into processes as mentioned above, but of the responsibility awaking when entering the field of awareness and it´s potential of intervention ---
being felt instantaneously in the organisms processed highly complex tension.
Fear results in tension, reflexes of defense, bending muscles to make smaller the organism´s outer surface, reducing vulnerabiltiy. From repetition results stiff tension
Any activity in opening up the organism, reducing stiff tension is an intrusion in the vicious circles of fear, vicious, as the stiff tension is matter of it´s own cause.
I have never seen such a softness in showing such harsh realities.
It makes feel it, it´s accessable for the information-overload type of western consumer as well as for anybody else.
The camera movements are very lively, without any attempt in being sensational.
There is no need for it anyway, because the pictures he presents are so direct.
Changes of standcam, handcam, camera turns, panorama views, close-ups and their relation to the moves in the picture, people, animals, cars... are extremely organic. The observer seems to be part of the scene, still or moving.
In unpretentious ways the pictures themselves are very well framed, aesthetic without aestheticism.
I´m thinking about what a person can move in this world. How get along with the knowledge of what happens outside, and the knowledge that all of what happens is motivated from correlations of people´s inside.
Those who live in the peace-zones, are they already peaceful enough, the culturalists of our times, peaceful enough to forget themselves and go out and report what kind of cruelty goes on in the world, reporting in ways that the journalists usually don´t have the format for?
I don´t draw such a strict line between the reporters of the various medias, as I include all communication into the media: written word, film, spoken word, art, ..., all is processing connectivity.
I´d be going to change people´s conscious about what is media.
I see the thoughtless thought that leads the hand to reach out for the cup of coffee as a medium.
The thought, it wants something, and one can check what lies behind it, at some assumed end of motivation networks, and check also if thoughts overload their own matter with too much chatter.
It is a bit like the money spent on filters within chimneys of industrial plants in the western countries. There are voices who complain that the investment would be more efficient if located in other countries´ plants, as in Germany it is only about filtering a few percents more, whereas abroad there might not be any filters used.
Others say that this is the mechanism of research, the development of the better and best device in its field.
Anyway the comparison lacks of evidence, as the person itself that creates a joint of content in a media form, carries the similar structure of organism like the addressed.
So the production of the cultural process, the cultural good, always transports its makers´ characteristics in quite a subtle way.
So changes of the person of the producer change the product in significant ways.
Then there is intiution.
Media is abstraction. It links people, and it can also overcome the splits within a person, a sender, because media itself entails form.
The in-formation is transported in various formats, some of which the producer is aware of, some of which he isn´t.
Of course the choice of format represents the senders´ state of organism, the organic process as a person and its environment, the cultural context.
The person of the sender, in the abstraction of the form used, can seem to disappear within the sending#s effect as noted consciously by the recipient.
But it still is there, in the choice of theme, material used, and all compositorial relations entailed in the assumed work.
The recipient, though, cannot completely divide the senders´ reality from the sender´s desires.
The medium might not tell about it.
That´s where interpretation starts, and anybody discussing or caring at all is already inside the
mirror-games that in-form him or her, that show various layers and networks of human organism and its interchange with environment.
There was a doc telling me, that there are ways of doing too much work on balance with one´s own organism, referring to yoga, meditation, breathing exercises.
He said I could loose the artist will of expression by it, and I found he was right.
In my character and life I found reason to do a lot of work in this direction though.
I´m a singer, and singing has a lot more to do with balance than with power, especially when the respective voice is powerful indeed.
This has to to with the fine overtones within the voice. They are the power we lately feel through ears and the whole of our organism as we – intuitively – associate with voices.
Strained voices will not only not last long, because the instrument gets hurt, and they also won´t be training neither a very flexible or subtle swing.
But they carry a quality of their own. They are rather likely to show roughness than an opera singer who sings about roughness, but can show it only in the correlation the art-form´s scales, as traditioned, and as being enabled by the used material.
The requirement of reaching the audience above an orchestra already evokes the production of overtones and therefore of a very fine balance producing it.
Expression, in these means, can rather take place in the correlation of meaning than in a lifelike appearance.
This is one reason why many people can accept opera as a beautiful art, but cannot adapt the meaning to the organism´s appearance on stage, because the art form forces to accept its own measurements.
Hence, abstraction in this context can be seen as a direct process of dissociation, here in the means of implanting processes of tension, programmaticly shifted into artificial relations.
----------
The tension of a stiffly strained voice is less flexible than a voice processed in a balance of contractions and releases, and, like bridges do it in the much slower frequencies of the climate changes, it bursts, when will of the constructor or vocalist hasn´t included space for the voice or the bridge to range, instead foring it into stiff frames.
The acknowledgement of physics in any cultural expression are potential scales of measure.
They show matters of evidences, they show effects, and humans are about to
first distinct the most various consequences in all means of organic awareness,
second to take decisions in the face of the awareness,
third sign responsible for it,
of which the latter is a delayed observation of the decisions´ effects.
When I look at Michael Winterbottom´s films I see clear decisions for the confrontation with
humans´ decisions and awareness on the organic effects, the technical realization has on the
spectator.
Responsibility means to cover for the most subtle kind of consequences of one´s own
doing, at least in letting oneself be confronted with it.
The sender, though, is not responsible for people who jump from a building when thinking the
alien attack in the programme is a real one.
Why now is this little article about “tension” when it does not present a continous line in approaching the theme, directly diving into it, developing a thesis in its context-contest with antitheses or some other model of choice, reflecting the will to present a fitting circle of evidences?
Because the fitting circle of evidence itself has a flashback on the theme it presumes to represent.
This is why analytic essays on “love” can be really funny.
This is also, because this article´s aim is not to present a theses that has a final verification as a picturesque result, as well as coordinates in space are not the space itself but the description of it, as they don´t even have a volume themselves.
Openness is a quality that need not stop readers from connecting themselves to thoughts presented.
Closed circle thoughts can feel like imprisonment.
The incorporated feeling of imprisonment is inflexible motivity.
One of the hints this article can show is, to take care of the physical results a media, incl. Art etc., implies for the recipient.
To take this into account, of course, sets high demands on the sender´s/producer´s/artist´s awareness of his or her own organism´s relationship with the work, namely, which tensional correlation it implies.
Beuys statement of everybody being an artist also, in this sense, entails the claim of each person being responsible for the development of awareness about the meaning of a medium, when being confronted with the direct experience of the relation of the organism towards its output.
In this context we enter the claim of people to become aware of the incorporate alienation within passivity.
Like Winterbottom´s films this is not only a proclamation of rights to be received, such as opportunity to be introduced into processes as mentioned above, but of the responsibility awaking when entering the field of awareness and it´s potential of intervention ---
being felt instantaneously in the organisms processed highly complex tension.
Fear results in tension, reflexes of defense, bending muscles to make smaller the organism´s outer surface, reducing vulnerabiltiy. From repetition results stiff tension
Any activity in opening up the organism, reducing stiff tension is an intrusion in the vicious circles of fear, vicious, as the stiff tension is matter of it´s own cause.
Sunday, January 4, 2009
Neoliberal Satanic Revolution Misunderstanding
These days the walls in the streets of Munich are covered with the latest slogan of the too latest social activists.
It is a congenious demand by the follow-ups of the autonome ultra-leftist freedom-and-peace movement, now updated under impression of the neoliberal Satanic Church-Individualism.
Total war or total socialism, the movement was not too decided about the direction, so they took a compromise and leave it to the potential followers, the readers in the streets, to figure it out.
"M*CHT FÜR ALLE"
("POWER FOR ALL", with a hexagram for an "A")
The Satanic Church, a firm friend of Ronald Reagan and George & George Bush gouvernments, has finally gone active.
Whatever happened to "KEINE MACHT FÜR NIEMAND"?
("NO POWER FOR NOBODY")
Somehow beggars can be choosers.
It is a congenious demand by the follow-ups of the autonome ultra-leftist freedom-and-peace movement, now updated under impression of the neoliberal Satanic Church-Individualism.
Total war or total socialism, the movement was not too decided about the direction, so they took a compromise and leave it to the potential followers, the readers in the streets, to figure it out.
"M*CHT FÜR ALLE"
("POWER FOR ALL", with a hexagram for an "A")
The Satanic Church, a firm friend of Ronald Reagan and George & George Bush gouvernments, has finally gone active.
Whatever happened to "KEINE MACHT FÜR NIEMAND"?
("NO POWER FOR NOBODY")
Somehow beggars can be choosers.
Thursday, January 1, 2009
Orphantasies (3)
One moment later, I admit, campfire was forbidden, no, sorry, no wood anymore anyway. What´s the difference?
Some say the wind has blown the flames, some say the army has never been out there.
No use making the apocalyptic freshman, though it gets the people some joy, those who believe everything´s going bad and down, on top you get credits for it from the boys.
Will take some time to really tell it to the other side, not to the mob that must ask for permission for every brownie to flush, but the men with the secret numbers.
Oooops, did I say that? I´m surprised! Ask me later what I´ll mean and what I meant now,
Ask me the day they find out about me, about the past that will be future again, ´cause there´s nothing to hide anyway. That´s just a mare to make you sleep trustful.
If you knew the total of the noticable, sucked up all channels, were insider of all, then you are no insider at all, nomore, being forced to watch yourself from the outside by default, when in the same moment you are considering yourself to be inside (of what?)
This is not about making better people, saving anybody´s life, but take your time, consider yourself, forget it again, and press the repeat button.
No, I´m joking.
Somebody sent me, I can´t tell you who, and I´m playing the mains in all movies,
I´m no metaphoric creature, no superficial or deepdown magic maker, no elusive fashion or tradition wanker, because it dosn´t matter and it doesn´t matter.
The shit gets in, so the shit gets out, whatever names we had given it before, right?
No I´m joking.
I´m someone using ´I´ at the beginning of each phrase and I don´t give your dead mom´s last fart for the feedback I get from people who are all dead since ever, believing in free will like my nephew loved santa claus until she got four.
No, I´m joking.
I´m leaving town by short and got no one to wave goodbye or miss me, whatever that is, because I can´t devide heart from fart, sorry about your mother. No, I don´t mean it, she´s dead.
I´m joking,
I, or is anybody taking serious the exaltations of somebody who does not have the slightest social competence, does anybody believe such a person whould have to say anything, besides: there are these usuallly black pieces of code that vanish and transform when the monitor gets switched,
Could anybody get the same something out of it that someone else had meant to put in?
No, I´m joking.
I, can somebody be easily switching off his accessability by willingly mixing content with emotion and at the same time keep this act as a secret in front of himself?
Can any question be too far aside to be taken for existing?
Or is the one who really is into it the real outsider, because he continiously pressed the repeat button too early?
No, I´m joking.
But who the fuck said that: Just that you´re paranoid it doesn´t mean that they´re not out to get you.
Who said it?
----
Who cares?
*
*
Some say the wind has blown the flames, some say the army has never been out there.
No use making the apocalyptic freshman, though it gets the people some joy, those who believe everything´s going bad and down, on top you get credits for it from the boys.
Will take some time to really tell it to the other side, not to the mob that must ask for permission for every brownie to flush, but the men with the secret numbers.
Oooops, did I say that? I´m surprised! Ask me later what I´ll mean and what I meant now,
Ask me the day they find out about me, about the past that will be future again, ´cause there´s nothing to hide anyway. That´s just a mare to make you sleep trustful.
If you knew the total of the noticable, sucked up all channels, were insider of all, then you are no insider at all, nomore, being forced to watch yourself from the outside by default, when in the same moment you are considering yourself to be inside (of what?)
This is not about making better people, saving anybody´s life, but take your time, consider yourself, forget it again, and press the repeat button.
No, I´m joking.
Somebody sent me, I can´t tell you who, and I´m playing the mains in all movies,
I´m no metaphoric creature, no superficial or deepdown magic maker, no elusive fashion or tradition wanker, because it dosn´t matter and it doesn´t matter.
The shit gets in, so the shit gets out, whatever names we had given it before, right?
No I´m joking.
I´m someone using ´I´ at the beginning of each phrase and I don´t give your dead mom´s last fart for the feedback I get from people who are all dead since ever, believing in free will like my nephew loved santa claus until she got four.
No, I´m joking.
I´m leaving town by short and got no one to wave goodbye or miss me, whatever that is, because I can´t devide heart from fart, sorry about your mother. No, I don´t mean it, she´s dead.
I´m joking,
I, or is anybody taking serious the exaltations of somebody who does not have the slightest social competence, does anybody believe such a person whould have to say anything, besides: there are these usuallly black pieces of code that vanish and transform when the monitor gets switched,
Could anybody get the same something out of it that someone else had meant to put in?
No, I´m joking.
I, can somebody be easily switching off his accessability by willingly mixing content with emotion and at the same time keep this act as a secret in front of himself?
Can any question be too far aside to be taken for existing?
Or is the one who really is into it the real outsider, because he continiously pressed the repeat button too early?
No, I´m joking.
But who the fuck said that: Just that you´re paranoid it doesn´t mean that they´re not out to get you.
Who said it?
----
Who cares?
*
*
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