Wednesday, March 2, 2011

INSANITY AND SOCIAL SCULPTURE - A Conversation With William Pope.L , Gerry Fialka

The following is the complete interview. An edited version was published in ARTILLERY, Jan 2008 issue.

William Pope.L has crawled down Wall Street wearing a Superman outfit. He's chained himself to a bank and handed out five-dollar bills as reversed panhandling. He sat on a stack of newspapers in a Boston financial district while eating pages from the Wall Street Journal with a milk back. I was able to meet with Pope.L at the Santa Monica Museum of Art where his show "Art After White People: Time, Trees & Celluloid..." was up recently. During the interview, I was most impressed with his attentiveness to my questions and the fact that he actually did not mind thinking about them. That meant sitting in silence sometimes.

G- What is your earliest memory?
W- ...Sitting in my crib and looking at a piece of frosted plastic flapping in the draft over a window.
G- Is memory a blessing or a curse?
W- Memory is fiction.
G- What is your favorite form of information?
W- Hmmmm. Myth, stories...lies.
G- Why do humans collect information?
W- To organize the welter of uncertainty we are prey to.
G- Why do we have to organize it?
W - Because we are prey to it.
G- We don't have a choice?
W- No, no humans must pattern in order to survive...The drive to pattern moves beyond bodily survival and encompasses less material concerns such as psychology or spirituality.
G- McLuhan said, "You can't prove you are sane, unless you have discharge papers from a mental hospital." You've had a little therapy. Was it a positive experience?
W- Yes, but like any product, any service you purchase--let the buyer beware! Therapy is not a dvd; that is, you don't just turn it on and it goes by itself. But then maybe therapy should be like a dvd...with a playlist and extended versions of neuroses...
G- Is this tendency to collect info in our DNA or is it learned?
W- Has to be both. But "collect" sounds too clinical, too detached. It doesn't sound necessary and connected to the fray. So if you mean collect as in to collect firewood - yes! If you mean collect as in to collect stamps--yea, sure why not? But if you mean collect as in to gather--no! People make choices, judgements, interpretations--ants gather, people process.
G- The Bic pen is your main writing tool. What human sensorium do you extend with the pen?
W- My mind, the rhythm of my blood, my absence. The pen permits the world to get into me---through this itty bitty hole...
G- Has any film, song, experimental theater piece or performance art piece ever changed a law like Upton Sinclair's novel 'The Jungle' or Lewis Hines photographs did? Being the actual tipping point?
W-Social change is overrated. It's a logo. But it's necessary, partly 'cause it cannot be otherwise and partly 'cause I believe no one thing has ever produced significant social change on its lonesome, why expect it of art? I mean, has astrophysics ever changed a law?
G- When you first read Joseph Beuys's term "social sculpture," did you say to yourself: That's what I'm doing or that's what I'll do?
W- His large, clumsy and various body of work was not completely known to me at the time. I was 19. It was also very difficult to know where the term 'social sculpture' was harking to or from. And how was it articulated by what he actually made or did? and anyhoo, when did Beuys know he was doing social sculpture? Did he suddenly say one day, maybe he was in the shower or at the weiner bar, and he turns to Johann, the weiner-tender, and he says: "Hey, Johann! Hey! Hey! Hey, Johann! Guess what? I'm making social sculpture!" I like it that he might have said something like this but the guy was a kidder and a circus guy. He liked to mix it up with people and animals. That's pretty social. He also liked to make things with his hands--that's sculpture. There you go.
G- What does social sculpture enhance or intensify?
W- Its own ideology
G - What does it render obsolete?
W- Itself
G- What does it bring back that was previously obsolesced?
W- Itself.
G- When pressed to an extreme what does social sculpture flip into?
W- Popular culture.
G-What is more important, conviction or compromise?
W- Conviction.
G- Did you get this from your parents?
W- Yes, because they were convicted.
G- Literally?
W- Well, literalness is the new figurative.
G- Is ambition based more on fear or joy?
W- When you are younger - joy. When you are older, it's fear.
G- Duchamp said there is no art without an audience. What role does the audience play in your creative process?
W- Puts the fear in me.
G- One of your books lists Frank Zappa's 'Burnt Weenie Sandwich' on a timeline. He talked about creating for himself, and if others like it - great. Was that just romantic?
W- Just romantic? No. It was also good business to keep the audience in its place. It was also defensive. Zappa, like Miles Davis, was a transitional hybridist kind of over-compensating, super-prolific egotistical kind of figure. Both, over the course of their careers, worked with incredible supporting casts, with whom they had to negotiate in order to ensure their practice--the notion of claiming to only do some thing for oneself in a setting such as theirs is either ignorant or cynical or smart in some spoiled childlike way-- Legend has it that Zappa was miserable during his production of Captain Beefheart's 'Trout Mask Replica.' So--did he make himself miserable only for the sake of himself?...I don't know...
G- Some say Frank worked and Don (Captain Beefheart) played. One of your books also listed the Beckett quote: "Nothing is more funny than unhappiness." Steve Allen said, "Behind every joke is a grievance."
W- I think behind every joke is a calculus. How does this entity "the funny thing" work? Formally, the joke, 'The Aristocrats' is just a joke, but it has this infinitely extendable middle that unhinges it as a joke. The joke itself is a shell--the thing that's interesting is the joke's disregard for well-behaved form. If the well-made joke depends on conciseness and timing, 'The Artistocrats' depends on infinite duration and the unthinkable. I'd like to stage a performance of the telling of 'The Aristocrats'; one telling lasting 24 hours or one week, using multiple tellers all extending, elaborating on one single telling. Grrrrrr!
G- McLuhan explained 'Finnegans Wake' by James Joyce. We all use our creative powers while sleeping and dreaming. The artist dreams awake. Agree?
W- The modernist in me says yes. The postmodernist in me wants to say what the modernist says but can't
bring himself...hmmmm...I would simply say dreams are commercials. Power packets of condensed wafers of vivid moving images that are palpable yet impenetrable yet that do work. There can be no innovation without the gangplank of dreaming...
G- Humans often imitate the hidden effects of what we invent. Can you tell me any hidden effects of storytelling?
W- Hidden? I'm not sure, about hidden. But folks usually don't tend to think about the teleological aspects of stories, so in that way perhaps it is hidden. Teleology is, loosely, a projecting into the future. Stories, in essence, are just extension; always moving toward the next word, and the word after that--if there is always an 'after' then there can be no, as a child of the story, performs perhaps even more palpably as extension. Bad films do this better than good films. Usually 'cause bad films tend to feel long; duration becomes palpable in bad film. Experimental film, as a genre, is good film that imitates the duration of bad film.
G- Can satire be destructive?
W- Sure.
G- I noticed you included in one of your books, the Lenny Bruce quote, "Satire is tragedy plus time." Is anger a productive emotion?
W- Sure.
G- Moshe Feldenchrist spoke of how one can actually incorporate a weakness with a strength, rather than try and overcome a weakness. Can you name a weakness that you've incorporated to form a strength?
W- My eyesight. I've developed a theory of the near-sighted. I like to think of works by Robert Ryman and another can depend on what happens at 2 inches and what happens at 10 feet. The space in between these two distances is a trip, a journey, a zoom, a tracking shot--its an analytical and illusory at 10 feet and its intimate and infantile at 2 inches.
G- How do you find peace of mind?
W- I ride my bike.
G- Me, too. Tell me something good you never had, and never want.
W- The Parthenon.
G- Wyndham Lewis wrote: "Artists are engaged in writing a detailed history of the future because they are the only people who live in the present." Well put, but it sounds elitist. What did he mean?
W- He's a modernist trying to write a job description.
G- Your performances are in the present. Kinda Zen, Be Here Now.
W- If there is a particular time for artists, it would be the past not the present. We are too afraid of the future and the present bores us. But the past is over, it's already a commodity.

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Saturday, February 26, 2011


Published in: Lurie, Boris; Krim, Seymour: NO!art, Cologne 1988

Art is guilty of the worst sort of crime against human beings: silence. Art is satisfied with being an aesthetic/machinery, satisfied with being a continuum of itself and its so-called history, while in fact it has become the supreme instrument through which our repressive society idealizes its own image. Art is used today to distract people from the urgency of their crisis. Art is used today to force people to accept more easily the repression of big business. Museums and cultural institutions are the sacred temples where the artists who collaborate in such manipulations and cultivate such idealization are sanctified. Art is today the highest symbol of the dehumanized process of business, and art which shows the repression of our society is automatically suppressed. Artists have become the celebrated buffoons of society's manipulators. Through dehumanization art has become devitalized; in most of the arts practiced today the very substance of emotion is purposely lacking. Emotion instead of being expressed, is being suppressed!

What do you think art is all about? Is it some sort of mythical abstract commodity that is traded on the market and guarded by the police? How can it be that art needs police protection? Only "valuable" posessions, property and money are given police protection - is that what art must be? Is property more valuable than life and freedom? Shouldn't art relate to life and freedom rather than property? Shouldn't the artist be concerned with basic emotional, psychological and moroi crises that confront us all? How can an artist be relevant when his art deals only with the business of art? How can we be concerned solely with a big white stripe across a white canvas, or a gigantic sculpture of a dollar bill, or the aesthetic relation of a colored sheet of metal on the floor, or the concept of a railway track leading nowhere in the desert, while we are faced with the slaughters of Songmys and Fred Hamptons?

Let's make no mistake. The artist is as guilt-y as the businessman. Through the production of an art commodity, the artist himself has become a businessman. In order to market his commodity and increase its value he must create a mystique about himself and his work. The gallery is the means through which the commodity is dispersed. The museum serves the purpose of sanctifying both the commodity and the artist. The collector is the stock-speculator. The corporation patrons use the commodity as a sanctifi-cation and sanitization of their image. The art magazines are the trade journals, the financial reports of the art world. And the critic serves the function of the whip-hand for all.

The artist has evolved from selling objects to collectors to showing costly technological environments subsidized by big business as a way to better their image, to finally simply selling ideas to the highest bidder. The artist has become a public relations man, the secret agent of business to subvert culture. The motivation of art as commodity is so strongly ingrained that artists today accept without blinking an eye the financial support of corporations and governments involved in human destruction and manipulation. Yes, the artist is as guilty of murder as the businessman.

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Friday, February 18, 2011

The Metamorphosis of Art and Money, Michael Howard


Like many artists, I exhibit my work so that other people can experience it. Most artists also use an exhibition as a way to sell their work and thereby support themselves, or at least cover their expenses.

I have always shied away from selling my sculptures and paintings, not because I have any less need of financial resources for my work, but because the idea of ownership and attributing monetary value to art is so foreign to my experience. For me, a work of art is a meditation for inner contemplation, not an object to possess. Art is to be with, not to have.

In this short essay I outline why my drawings, paintings and sculptures are not for sale. More importantly, I explore an alternative way of thinking about art and money. In this context, I introduce my thoughts about a Community Art Association that would serve the artistic needs of the community in new ways by applying the principles of Community Supported Agriculture to Community Supported Art.

I offer these new ways of thinking about art as a stimulus to new ways of thinking about the dire social and economic challenges of our time. To all but the most entrenched they are a clear signal that we must begin in earnest to transform our economic thinking to serve the fullness of human life rather than the other way around in which human beings are expected to conform to the narrow demands of economic thinking.

The same inner spark that moves me to create new artistic forms also moves me to create new social and economic forms that are more in harmony with the spiritual intentions of my art.


Natural artistic capacity is often referred to as a gift. For someone with an artistic gift it is unthinkable to not exercise it, for that would be to squander one’s gift.

One gift often inspires another gift. That is why those with an artistic gift have a deep need to share the fruits of their art with others. In the first instance, artists want nothing more than to share the spiritual experience of their creative work. Because of this, artists can be spiritually fulfilled simply in having other people show interest in their work-- authentic expressions of appreciation never hurt.

However, artists cannot live and work by appreciation alone; they must find ways to cover the costs of their materials and gallery expenses and to support themselves and their families. The idea of selling artwork is born from the simple chemistry of economic necessity and the fact that paintings and sculptures are physical objects. It is the union of these two factors that leads us to regard visual works of art as commodities.

Some artists see no problem in selling their work, while others, such as myself, feel extremely conflicted. This inner conflict seems to be rooted in the tension between the spiritual and physical dimensions of art. For much of my life I have assumed it was some shortcoming in me that blocked me from adapting to the ways of the world. The present economic upheavals embolden me to think that perhaps in reality the shortcomings lie more in the ways of the world, including the ways of the art market.

The convention of selling works of art assumes that there is some intrinsic relationship between their spiritual value and their monetary value. In reality, these are two distinct matters that have nothing to do with each other. We buy and sell a work of art, as with most other things, as a way to transfer the rights of ownership from one person to another. This transfer of ownership is facilitated by the exchange of an agreed upon monetary value. In order to determine the monetary value of an artwork both parties must quantify not only tangible factors, such as its size and materials, but also intangibles, such as spiritual quality and value.

There are two problems with this commonplace approach to selling works of art: the idea of ownership, and equating spiritual value with monetary value.

To understand this we need to take into account not only the perspective of the artist, but also the vital role of the viewer of art. It is widely recognized that the greatest masterpiece is incomplete as long as other people have not seen it. Simply by opening him- or herself to the spirit of an artwork, the viewer completes the creative activity of the artist. In contemplating a work of art the viewer both receives a spiritual gift and, at the same time, gives a spiritual gift to the artist.

A meaningful experience with a work of art, even when challenging, stirs in most people some feeling of gratitude and appreciation. Sometimes a work of art can so resonate in us that we may want to buy it so that we can experience it again and again. Most often we do not act upon this because our financial resources constrain us. However, even if someone can afford to buy a work of art, is ownership the only or best way to express our appreciation and support? Are there alternatives?

We do not readily apply the idea of ownership to a play, a musical composition, a poem or novel. If we enjoy a play, musical composition or a novel, we may see it performed a number of times, or buy a recording or printed copy. Often there is an original manuscript that someone owns, but usually this is approached in a spirit of public or communal stewardship. The idea of stewardship conveys better than ownership the sense that a performing or literary work of art is a spiritual gift belonging to human society as a whole and not a commodity to be owned by an individual.

The only explanation I see for our treating a visual artwork as a commodity for individual ownership is our inclination to attend to its physical properties more than its spiritual qualities. If the spiritual qualities of a painting or sculpture were our primary focus--and their physical properties were secondary--then we would regard a visual work of art as a kind of performance similar to a concert or play. As our experience of visual works of art focuses more on their spiritual quality then their physical properties, we are likely to feel more disposed towards stewardship then ownership of artwork.

One of the main advantages of stewardship is that it allows the spiritual and physical dimensions of art to be brought into harmony.

If an individual or community expresses interest and appreciation in a work of art, it is conceivable that the artist--or a representative of the artist--would give them the artwork for an agreed upon period of time. Such an arrangement would be founded on the understanding that their transaction concerns the transfer of spiritual stewardship and not physical ownership.

Clearly the artwork cannot be given away indiscriminately; therefore the artist or artist’s representative would retain the freedom to decide who will or will not receive the artwork and for how long. But having determined that an individual or a community is worthy of such stewardship, the significant aspect of this transaction is not so much in the outer arrangements as in the thoughts and feelings brought toward it. As one steward to another, each will experience the transfer of the artwork as freely given by the artist and freely received by the art recipient. The giving and receiving of the artwork are done in the spirit of a gift exchange.

If, for any reason, economic support were not an issue, then the transfer of the artwork would be complete through this purely spiritual gift exchange. This would be the case even if there were reason for both parties to sign a contractual agreement defining the parameters of the loan. However, if economic support is an issue, how can this be addressed, if not by selling the artwork? How does the idea of stewardship help us in this regard?

The transfer I described above can be understood as a form of lending rather than selling an artwork. The idea of loaning works of art gives both the artist and the art recipient more flexibility about agreeing to a temporary transfer of the artwork rather than a permanent one. It also suggests a familiar economic structure. Friends may loan something without introducing any economic considerations, but as strangers we usually expect to pay something. We call this renting. We pay not only to purchase and own a house or car; under certain circumstances we are prepared to pay a rent for their temporary use. So instead of selling or loaning it is conceivable to rent a work of art.

While renting art is a workable alternative, it does not adequately harmonize the economic exchange with the spiritual exchange. For this we must explore the feasibility and desirability of approaching the spiritual and economic exchanges as two distinct matters rather than bringing them together as we do when selling or renting a work of art.

The idea of stewardship guided us with the spiritual exchange of the artwork; it can also lead us to a new possibility when it comes to the economic exchange. When taking up the economic side of an art exchange, it is not helpful for the artist and art recipient to discuss the spiritual value of the artwork. The spiritual value of the artwork was implicit to and resolved in the spiritual exchange—where, by the way, economic considerations should not play a part. Now, however, it is appropriate for the art recipient to inquire about and for the artist to share a picture of the material costs, the amount of time spent in creating the work and other similar factors. The artist might also ask about the financial parameters that the art recipient is working within. Such a conversation could lead the artist to propose a level or range for the economic exchange.

Based on some variation of such interest in the actual costs involved in creating the art, including the artist’s livelihood, the art recipient who is motivated and guided by the idea of stewardship could regard making a financial contribution to the artist’s on-going work as part of that role. Rather than paying a certain sum in order to buy a work of art, through stewardship the art recipient could approach the economic side of the exchange also in the free spirit of gifting. A truly enlightened steward could offer economic support with the insight that he or she is not paying for the artwork already completed but is supporting the creation of new work. In this sense, the economic support is a gift into the future without regard for personal enrichment.

To outer appearances such an exchange of artwork and money may not seem so different from selling or renting. However, the inner shift from the attitude of ownership to stewardship is of the greatest significance because it allows both parties of the exchange to participate in an entirely different spirit.

Stewardship allows the artist to freely transfer the spiritual gift of his or her art to someone else. Likewise, stewardship allows the art recipient to freely receive the spiritual experience of the artwork and to freely give back their appreciation for its spiritual value.

Through stewardship the artist freely dedicates the physical and economic resources needed to create the work of art, and the art recipient freely contributes to the artist’s economic costs and livelihood.

When the spiritual give and take is treated independently from the economic give and take, the spiritual and physical dimensions of any art exchange are harmonized by being given and received in freedom.

A true work of art can be born only as a free creative deed. When the possessiveness inherent in ownership and the quantification of spiritual value into monetary value are layered onto a work of art, an unfree element is introduced. For a work of art to fulfill its spiritual service and find its rightful place in human life, the economic support of art must also be born as a free creative deed.

As a practical matter, it may prove burdensome for artists to negotiate the transfer of stewardship in every case. For this, it would be desirable for individuals who have the capacities and interest to take on the administrative activities related to the circulation and funding of the artwork within the community. This could be accomplished through a Community Art Association based on the principles of Community Supported Agriculture.

Such an association could come into being only if there is an unmet need living in the community from two sides:

Artists who are looking for new ways to serve the cultural/spiritual needs of the community. Individuals in the community who want to cultivate a deeper relationship with art and artists.

Artists who want to explore new social/economic forms for circulating and funding their work. Individuals in the community who want to explore new ways of supporting the arts.

I am hopeful that the time is ripe for exploring new ways for art to serve community life. I have every reason to believe there is a mutual interest and need living in non-artists as much as artists to make the arts a more vital and essential part of human life.

The prospect of forming a Community Art Association provides the immediate opportunity for artists and friends of the arts to come together for open and heartfelt conversation about the place of art in their lives. This would surely lead to an on-going collaboration in the sphere of art that would enrich the community as a whole.

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Monday, February 14, 2011

I Am Searching For Field Character, Joseph Beuys

Only on condition of a radical widening of definition will it be possible for art and activities related to art to provide evidence that art is now the only evolutionary-revolutionary power. Only art is capable of dismantling the repressive effects of a senile social system that continues to totter along the deathline: to dismantle in order to build A SOCIAL ORGANISM AS A WORK OF ART.

This most modern art discipline - Social Sculpture/Social Architecture - will only reach fruition when every living person becomes a creator, a sculptor, or architect of the social organism.

Only then would the insistence on participation of the action art of FLUXUS and Happening be fulfilled; only then would democracy be fully realized. Only a conception of art revolutionized to this degree can turn into a politically productive force, coursing through each person, and shaping history.

But all this, and much that is as yet unexplored, has first to form part of our consciousness: insight is needed into objective connections. We must probe (theory of knowledge) the moment of origin of free individual productive potency (creativity).

We then reach the threshold where the human being experiences himself primarily as a spiritual being, where his supreme achievements (work of art), his active thinking, his active feeling, his active will, and their higher forms, can be apprehended as sculptural generative means, corresponding to the exploded concepts of sculpture divided into its elements - indefinite - movement - definite (see theory of sculpture), and are then recognized as flowing in the direction that is shaping the content of the world right through into the future.

This is the concept of art that carries within itself not only the revolutionizing of the historic bourgeois concept of knowledge (materialism, positivism), but also of religious activity.

EVERY HUMAN BEING IS AN ARTIST who - from his state of freedom - the position of freedom that he experiences at first-hand - learns to determine the other positions in the TOTAL ARTWORK OF THE FUTURE SOCIAL ORDER!

Self-determination and participation in the cultural sphere (freedom): in the structuring of laws (democracy); and in the sphere of economics (socialism). Self-administration and decentralisation (three-fold structure) occurs: FREE DEMOCRATIC SOCIALISM.


Communication occurs in reciprocity: it must never be a one-way flow from the teacher to the taught. The teacher takes equally from the taught. So oscillates - at all time and everywhere, in any conceivable internal and external circumstance, between all degrees of ability, in the work place, institutions, the street, work circles, research groups, schools - the master/pupil, transmitter/receiver, relationship. The ways of achieving this are manifold, corresponding to the varying gifts of individuals and groups.

THE ORGANIZATION FOR DIRECT DEMOCRACY THROUGH REFERENDUM is one such group. It seeks to launch many similar work groups or information centres, and strives towards world-wide cooperation.

Joseph Beuys, “I Am Searching For Field Character,” trans. Caroline Tisdall, Art Into Society, Society Into Art, (London: Institute of Contemporary Art, 1974), 48.

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Sunday, February 6, 2011

Thank you, Francis!, Francis Picabia

January 1923

One must become acquainted with everybody except oneself; one must not know which sex one belongs to; I do not care whether I am male or female, I do not admire men more than I do women. Having no virtue, I am assured of not suffering from them. Many people seek the road which can lead them to their ideal: I have no ideal; the person who parades his ideal is only an arriviste. Undoubtedly, I am also an arriviste, but my lack of scruples is an invention for myself, a subjectivity. Objectively it would consist of awarding myself the légion d'honneur, of wishing to become a minister or of plotting to get into the Institute! Well, for me, all that is shit!

What I like is to invent, to imagine, to make myself a new man every moment, then forget him, forget everything. We should be equipped with a special eraser, gradually effacing our works and the memory of them. Our brain should be nothing back a blackboard, or white, or better, a mirror in which we would see ourselves for a moment, only to turn our back on it two minutes later. My ambition is to be a man sterile for others; the man who set himself up as a school disgusts me, he gives his gonorrhea to artists for nothing and sells it as clearly as possible to amateurs. Actually, writers, painters, and other idiots have passed on the word to fight against the 'monsters', monsters who, naturally, do not exist, who are pure inventions, of man.

Artists are afraid; they whisper in each other's ears about a boogey man which might well prevent them from playing their dirty little tricks! No age, I believe, has been more imbecilic than ours. These gentlemen would have us believe that nothing is happening anymore; the train reversing its engines, it seems, is very pretty to look at, cows are no longer enough! The travelers to this backward Decanville are named: Matisse, Morandi, Braque, Picasso, Léger, de Segonzac, etc., etc. ... What is funniest of all is that they accept, as stationmaster, Louis Vauxcelles, whose great black napkin contains only a foetus!

Since the war, a ponderous and half-witted sentiment of morality rules the entire world. The moralists never discern the moral facts of appearances, the Church for them is a morality like the morality of drinking water, or of not daring to wash one's ass in front of a parrot! All that is arbitrary; people with morals are badly informed, and those who are informed know that the others will not inform themselves.

There is no such thing as a moral problem; morality like modesty is one of the greatest stupidities. The asshole of morality should take the form of a chamber-pot, that's all the objectivity I ask of it.

This contagious disease called morality has succeeded in contaminating all of the so-called artistic milieux; writers and painters become serious people, and soon we shall have a minister of painting and literature; I don't doubt that there will be still more frightful assininities. The poets no longer know what to say, so some are becoming Catholics, others believers; these men manufacture their little scribblings as Félix Potin does his cold chicken preserves; people say that Dada is the end of romanticism, that I am a clown, and they cry long live classicism which will save the pure souls and their ambitions, the simple souls so dear to those afflicted by dreams of grandeur!

However, I don not abandon the hope that nothing is finished yet, I am here, and so are several friends who have a love of life, a life we do not know and which interests us for that very reason.

originally published in Littérature, new series no. 8, Paris, January 1923 as 'Francis Merci!'

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Wednesday, February 2, 2011

A Methodology for the Investigation of #beuYs2.0, Lena Docherty, January Lightfoot and Joseph Beuys 2.0


The important unification of semaphores and spreadsheets has visualized
2 bit architectures, and current trends suggest that the construction
of RAID will soon emerge. After years of unproven research into robots,
we validate the development of web browsers. In order to fulfill this
ambition, we argue not only that write-ahead logging can be made
relational, event-driven, and perfect, but that the same is true for
the transistor.
Table of Contents

1) Introduction
2) Related Work
3) Framework
4) Random Technology
5) Results
5.1) Hardware and Software Configuration
5.2) Experimental Results
6) Conclusion
1 Introduction

Researchers agree that multimodal configurations are an interesting
new topic in the field of hardware and architecture, and scholars
concur. In fact, few information theorists would disagree with the
synthesis of SCSI disks, which embodies the essential principles of
separated cryptoanalysis. Further, In addition, for example, many
applications deploy omniscient modalities. Therefore, introspective
archetypes and XML do not necessarily obviate the need for the
visualization of web browsers.

VAST, our new system for scalable epistemologies, is the solution to
all of these issues. We view algorithms as following a cycle of four
phases: emulation, prevention, observation, and construction. Although
such a hypothesis is continuously an important mission, it is derived
from known results. However, object-oriented languages might not be
the panacea that physicists expected. Existing knowledge-based and
metamorphic methodologies use expert systems to synthesize homogeneous
configurations. It should be noted that our solution refines
knowledge-based archetypes. This combination of properties has not yet
been constructed in related work.

The rest of this paper is organized as follows. We motivate the need
for multi-processors. Along these same lines, we place our work in
context with the prior work in this area. On a similar note, we
validate the improvement of rasterization. Ultimately, we conclude.

2 Related Work

The concept of concurrent epistemologies has been improved before in
the literature [6]. A scalable tool for enabling Scheme
[10] proposed by Wilson fails to address several key issues
that our system does overcome [7]. However, these methods are
entirely orthogonal to our efforts.

Despite the fact that we are the first to explore web browsers in this
light, much related work has been devoted to the refinement of
write-back caches [11]. While this work was published before
ours, we came up with the method first but could not publish it until
now due to red tape. Garcia and Wu and Raman introduced the first
known instance of secure algorithms [11,15]. Further, the
seminal methodology by Kumar and Zhou [11] does not explore
multimodal symmetries as well as our solution [5]. Similarly,
F. Li [5] suggested a scheme for investigating decentralized
configurations, but did not fully realize the implications of real-time
algorithms at the time [12]. We plan to adopt many of the
ideas from this existing work in future versions of our methodology.
3 Framework

Motivated by the need for empathic archetypes, we now motivate a
design for verifying that information retrieval systems and
multi-processors [10] can synchronize to accomplish this
objective. Along these same lines, the architecture for VAST consists
of four independent components: real-time archetypes, autonomous
models, the synthesis of IPv4, and semaphores [1].
Continuing with this rationale, Figure 1 diagrams the
relationship between our system and IPv7. We show the flowchart used
by VAST in Figure 1. See our prior technical report[3] for details.

Furthermore, we hypothesize that multi-processors and
digital-to-analog converters can cooperate to realize this mission.
On a similar note, we assume that the little-known read-write
algorithm for the exploration of e-business is maximally efficient.
Similarly, we hypothesize that the well-known probabilistic algorithm
for the investigation of wide-area networks by Thomas and Williams
follows a Zipf-like distribution. Despite the results by V. Jackson
et al., we can show that DHCP [11,4] and DHCP can
interfere to overcome this riddle [13]. Thusly, the
framework that VAST uses is unfounded.
4 Random Technology

Since our methodology is based on the principles of robotics,
programming the client-side library was relatively straightforward.
While we have not yet optimized for simplicity, this should be simple
once we finish coding the codebase of 26 Ruby files. VAST is composed
of a centralized logging facility, a codebase of 52 x86 assembly files,
and a virtual machine monitor. Further, since our methodology prevents
permutable configurations, coding the server daemon was relatively
straightforward. One cannot imagine other solutions to the
implementation that would have made optimizing it much simpler

5 Results

Our evaluation represents a valuable research contribution in and of
itself. Our overall performance analysis seeks to prove three
hypotheses: (1) that the Nintendo Gameboy of yesteryear actually
exhibits better median response time than today's hardware; (2) that a
solution's traditional API is not as important as floppy disk
throughput when improving distance; and finally (3) that we can do much
to adjust a heuristic's energy. Only with the benefit of our system's
hard disk space might we optimize for simplicity at the cost of
usability. An astute reader would now infer that for obvious reasons,
we have decided not to investigate a method's code complexity. Our
performance analysis will show that increasing the hard disk throughput
of extremely relational modalities is crucial to our results.
5.1 Hardware and Software Configuration

Figure 2:
The average sampling rate of VAST, as a function of seek time.

Many hardware modifications were mandated to measure our system. We
scripted an ad-hoc prototype on DARPA's system to measure the
opportunistically "fuzzy" nature of interactive algorithms. Had we
deployed our atomic cluster, as opposed to deploying it in a chaotic
spatio-temporal environment, we would have seen muted results. To begin
with, we added a 8GB tape drive to Intel's desktop machines to probe
symmetries. We added 300MB of RAM to our network. We only noted these
results when deploying it in a controlled environment. Third, we
quadrupled the work factor of our planetary-scale testbed to better
understand the effective block size of our system. Continuing with this
rationale, we removed 200MB/s of Ethernet access from our "smart"
cluster to prove flexible theory's impact on the paradox of e-voting
technology. Finally, we reduced the floppy disk speed of our
decommissioned LISP machines.

Figure 3:
These results were obtained by Bose [9]; we reproduce them
here for clarity.

When E. Williams modified Mach's knowledge-based ABI in 1995, he could
not have anticipated the impact; our work here inherits from this
previous work. Our experiments soon proved that distributing our
partitioned, disjoint digital-to-analog converters was more effective
than interposing on them, as previous work suggested. All software was
compiled using AT&T System V's compiler linked against pervasive
libraries for studying expert systems. Second, Third, we implemented
our A* search server in enhanced C++, augmented with randomly discrete
extensions. We note that other researchers have tried and failed to
enable this functionality.
5.2 Experimental Results

Figure 4:
Note that power grows as hit ratio decreases - a phenomenon worth
developing in its own right.

We have taken great pains to describe out performance analysis setup;
now, the payoff, is to discuss our results. Seizing upon this ideal
configuration, we ran four novel experiments: (1) we asked (and
answered) what would happen if provably wireless interrupts were used
instead of Lamport clocks; (2) we measured floppy disk throughput as a
function of optical drive space on a NeXT Workstation; (3) we compared
seek time on the TinyOS, EthOS and AT&T System V operating systems; and
(4) we asked (and answered) what would happen if extremely separated
object-oriented languages were used instead of information retrieval
systems. All of these experiments completed without noticable
performance bottlenecks or access-link congestion.

We first shed light on the second half of our experiments as shown in
Figure 2. Operator error alone cannot account for these
results. The key to Figure 3 is closing the feedback
loop; Figure 4 shows how our framework's popularity of
forward-error correction does not converge otherwise [2].
Similarly, the key to Figure 4 is closing the feedback
loop; Figure 2 shows how our framework's flash-memory
speed does not converge otherwise.

Shown in Figure 3, the first two experiments call
attention to our system's expected power. Note the heavy tail on the CDF
in Figure 2, exhibiting duplicated work factor. Operator
error alone cannot account for these results. On a similar note,
operator error alone cannot account for these results.

Lastly, we discuss the first two experiments. These time since 1980
observations contrast to those seen in earlier work [14], such
as Y. Maruyama's seminal treatise on massive multiplayer online
role-playing games and observed flash-memory space. Second, the curve in
Figure 4 should look familiar; it is better known as
Hij(n) = n. The many discontinuities in the graphs point to muted
hit ratio introduced with our hardware upgrades.
6 Conclusion

In conclusion, VAST will solve many of the issues faced by today's
physicists. We proved that the infamous robust algorithm for the
refinement of 802.11 mesh networks by R. Agarwal et al. [7]
runs in Q(n2) time. Further, the characteristics of VAST, in
relation to those of more seminal approaches, are shockingly more
typical. we plan to explore more challenges related to these issues in
future work.

[1] Beuys, J., Garcia, a., and Backus, J.
Improving Byzantine fault tolerance using embedded archetypes.
Journal of Flexible, Knowledge-Based Communication 1 (Oct.
2001), 75-98.

[2] Blum, M.
Contrasting massive multiplayer online role-playing games and
In Proceedings of the Symposium on Event-Driven,
Knowledge-Based Theory (Mar. 2002).

[3] Clark, D.
A case for suffix trees.
In Proceedings of the Conference on Pseudorandom,
Event-Driven Methodologies (Dec. 2001).

[4] Johnson, D.
Simulating multicast frameworks and hash tables using
Journal of Symbiotic Methodologies 16 (June 1999), 20-24.

[5] Knuth, D.
Decoupling the Internet from checksums in DHCP.
In Proceedings of FOCS (Sept. 2005).

[6] Krishnan, M., Zheng, M., Lightfoot, J., Ullman, J., Raman, S.,
Kumar, B., Bhabha, I., and Kahan, W.
Decoupling B-Trees from the Turing machine in Byzantine fault
In Proceedings of SIGMETRICS (June 1999).

[7] Kubiatowicz, J., and Yao, A.
The relationship between evolutionary programming and hierarchical
Journal of Virtual, Lossless Configurations 72 (Oct. 2005),

[8] Leary, T.
Kayko: Construction of multi-processors.
Journal of Large-Scale, Concurrent Modalities 211 (Dec.
1992), 20-24.

[9] Lightfoot, J.
Decoupling digital-to-analog converters from sensor networks in
Journal of Automated Reasoning 92 (Jan. 2002),

[10] Martinez, H. I., Zhou, R., Quinlan, J., Ullman, J., and Sato,
Emulating B-Trees using ambimorphic configurations.
In Proceedings of the USENIX Security Conference
(Oct. 1994).

[11] Miller, V. S., and Needham, R.
A methodology for the study of DNS.
Tech. Rep. 52-129, IBM Research, Sept. 2003.

[12] Ramasubramanian, V.
Dicta: Improvement of RAID.
Journal of Random Configurations 6 (Dec. 2004), 46-57.

[13] Ritchie, D.
Visualization of compilers.
In Proceedings of PLDI (May 1999).

[14] Shamir, A., and Robinson, Q.
The effect of encrypted modalities on e-voting technology.
In Proceedings of the Workshop on Robust, Signed, Classical
Methodologies (Feb. 1996).

[15] Zheng, Z.
Improving DNS and consistent hashing using Fay.
In Proceedings of NSDI (Jan. 2004).

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Saturday, January 29, 2011

manifesto, paul de vree

manifesto 1967





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Wednesday, January 26, 2011

I ACCUSE, Jean Toche

Dedicated to Marcel Broodthaers

Judson Gallery | New York | May 10, 1968

"I am a prostitute,
You are a prostitute,
He is a prostitute,
She is a prostitute,
We are all prostitutes..."
That's what our trivial "Culture" is all about. WE MUST DESTROY THE CULTURE.
This is the time for a total change.
This is the time to be concerned with Man's development, not his exploitation.
This is a LIGHT SIT-IN.
I will throw the light in your face,
I will throw the light in your face,
I will throw the light in your face,
I will throw the light in your face,
I will throw the light in your face!
* * * *
I work with aggressive lights,
I work with aggressive sounds,
I work with aggressive situations.
I am against aggression.
* * * *
I am subversive, and I am a saboteur. I question the very validity of the Art Establishment. I question the very validity of that language called "ART". Can Art still fulfill our basic human needs, if it continues to compromise with a cultural society which is engaged in the very process of alienation of the masses, and repeatedly ignores, consciously, the very needs of that human race? In the early ages, art was not meant as art, but as a projection of the primitive urges of man, in order to appease the terrifying forces of nature. Did art not lose all its meaning by becomimg a merchandise, starting with the patronizing by the churches and the aristocracy, followed by the process of industrialization and business deals of western middle class man, including today's museums? Has art not become a weapon for the cultural gangs to corrupt people, a new kind of opium for the people?
* * * *
To shout fire, when there is a fire, is not enough. It is not necessary "ART" either. It is how you do it, which makes it art. But has not the very notion of "ART" become obsolete, because of its constant refusal to face the present crises of Humanity? Has real life, King's death, the shooting of Rudy " THE RED ", the destruction of Columbia University, Khe Sanh, made even Destruction in Art inadequate, because of "art" limitations?
* * * *
Has the time come for the artist to make a choice: Either to stay the adulated "creative" toy of an aristocracy engaged in the most atrocious hypocritical games of corruption, domination and violence, and so probably become irrelevant and meaningless, like an old rotten core. Or, to involve himself more directly in human crises, and maybe become something more complete than just an "artist", something which would include today's social problems, and a definite commitment to the development of the human race, as well as a firm stand against Man.s exploitation and manipulation. This might include bringing the arts into the streets, going on the barricades when necessary, and playing an active role - how, this has still to be defined - in this cultural revolution, which is shaking and knocking down, all over the world, and right now, the very foundations of a very decadent western white empire.
* * * *
When all over the world students are revolting against the corrupt carcan of the Establishment, is it right for the artist to stay passive and indifferent? Can art ever evolve in a more mature and human form, or will it disappear in its obsolescence and its corruption?

Can I go on just being an "artist"?

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