plese, no more e-mail
Goat Sucker
>
> Emperor JB <Empe...@NewScotland.net> opinó lo siguiente:
>
> "In article <3782815532...@local-win-host.org>, Jose Ramón
> "<jose...@no.me.escriba.aquí.com> wrote:
> "
> "> ĄVeo que decidiste abandonar! ĄAdiós, poofster!
> "
> "
> "No habla Espanol, Ingles por favor
> "
>
> >"How do you say "poofster" in Spanish, jose ramon maricon?
>
> poofster = moul.01 = KKK = Nazi
> Richter wrote:
> >
> > sounds like a simultaneous eclipse and meteor shower
dona Chlorinea wrote:
>
> From:
> http://burn.ucsd.edu/~acf/org/issue44/surr.html
>
> Anarchism and Surrealism
>
> IN THE FOLLOWING article, as part of our regular ongoing series on
> culture we look at the links between Surrealism and Anarchism. It's
> noticeable how bourgeois writers writing about Surrealism play down the
> politics. For example in the massive book on Breton, Revolution and the
> Mind: The Life of Andre Breton the author Mark
> Polizzotti passes over the links beween Surrealism and Anarchism in a
> couple of sentences . This despite the signal devotion of Breton in
> showing solidarity, as one of a few intellectuals to support the
> libertarian movement in a period of repression. and despite the fact
> that the Surrealists wrote a weekly column for Le Libertaire, a paper
> with not an inconsiderable readership.
>
> "It was in the black mirror of anarchism that surrealism first
> recognised itself."Thus wrote unequivocally the "Pope of Surrealism"
> Andre Breton in 1952. Breton had returned to France in 1947 and in April
> of that year Andre Julien welcomed his return in the pages of Le
> Libertaire the weekly paper of the Federation Anarchiste.
>
> But why had not the Surrealists associated themselves before 1947 with
> the ideas of revolutionary anarchism? This radical art movement which
> had a fierce hatred of authority and religion was a natural ally. Indeed
> the art movement of Dada, in many ways a precursor and influence on
> surrealism, had emerged in Zurich in 1916 as a reaction to the savagery
> and slaughter of the World War. Breton himself was influenced by the
> poet Jacques Vache whom he met in 1919. Breton was to note in the same
> 1952 article that :" At that time, the surrealist refusal was total, and
> absolutely incapable of allowing itself to be channelled at a political
> level. All the institutions upon which the modern world rested-and which
> had just shown their worth in the first World War- were considered
> aberrant and scandalous to us. To begin with, it was the entire defence
> apparatus of society that we were attacking: the army, "justice", the
> police, religion, psychiatric and legal medicine, and schooling". He
> went on to demand : "Why was an organic fusion not operated at this
> moment between anarchist and surrealist elements?" and explained " It
> was undoubtedly the idea of efficiency, which was the delusion of that
> period, that decided otherwise. What we took to be the triumph of the
> Russian Revolution and the advent of a workers' state led to a great
> change in our outlook. The only dark spot in the picture- which became
> an indelible stain- was the
> crushing of the Kronstadt insurrection of 18 March 1921".
>
> Solidarity
> The surrealists had not hesitated in 1923 in showing solidarity with the
> young anarchist woman Germaine Berton who had killed an activist of the
> extreme right nationalist party L'Action Francaise and who was
> aqcquitted in a jury trial! Another member of the surrealist group,
> Robert Desnos, had associated with the individualist anarchist
> circles of Victor Serge and Rirette Maitrejean, whilst according to a
> police record, the surrealist poet Benjamin Peret had been active in an
> anarchist group in the Paris region and had contributed to the anarchist
> paper Le Libertaire. All the surrealists attentively read the anarchist
> press in this period. However, they were put off by
> the incoherence of the French movement and remembered how some had
> supported the Allied effort in the World War. When Breton took over as
> editor of the review La Revolution Surrealiste from Antonin Artaud he
> wrote most of the collective texts like the revolutionary Open the
> Prisons! Disband the Armies!
>
> The Surrealists also leapt to the defence of the young woman Violette
> Noziere who had poisoned her father. Violette accused her father of
> having systematically raped her from the age of 12. The Surrealists used
> the trial to denounce the bourgeois family and bourgeois hypocrisy.
>
> In January 1927 5 members of the Surrealist group joined the Communist
> Party: Breton, Aragon, Eluard, Unik and Peret. Others, like Desnos and
> Miro refused to join. Even with Breton, Party membership was with
> qualifications. He saw the Communist programme as only a minimum
> programme, and criticised the Party paper as : "Puerile, uselessly
> declamatory, cretinous, unreadable; completely unworthy of the role of
> proletarian education that it tries to assume". Whilst Aragon
> transformed from the "most libertarian spirit of the Surrealist group"
> into a horrific Stalinist hack who wrote poems honouring the Russian
> secret police the NKVD, others who had joined the Party began to feel
> distinctly uncomfortable about the Moscow show trials. It was a stormy
> period for the
> Surrealists as they tried to participate as they saw it in the workers'
> revolution, whilst at the same time safeguarding their own specific
> preoccupations, and fighting against the Party leadership's attempts to
> keep them on a tight rein. Breton was expelled in 1933, and at a
> Party-controlled International Congress for the Defence of Culture the
> Surrealists were denounced and were only allowed to speak on the last
> day at 2 in the morning!
>
> Trotsky
> By now some of the Surrealists were allying with Trotskyism and
> oppositional Bolshevism. Peret made contact in France and Brazil with
> the Communist Union and the Internationalist Workers Party. Breton made
> contact in Mexico with Trotsky when he was put in charge of a series of
> conferences at Mexico University on Poetry and
> Painting in Europe in 1938. Together with Trotsky and the Mexican
> painter Diego Rivera he drafted For an Independent Revolutionary Art
> which announced that "The revolution is obliged to erect a socialist
> regime with central planning; for intellectual creation it must, even
> from the start, establish an anarchist regime of intellectual liberty.
> No constraint, not the least trace of command". This contradictory and
> bizarre document seems to have been written by Breton and amazingly
> Trotsky, with Rivera substituting for Trotsky's signature when he got
> cold feet. It is not clear when Trotsky helped write this document what
> he thought he was doing, as it went against everything he had ever done
> or said.
>
> Durruti
> Peret for his part had gone as delegate of the Internationalist Workers
> Party to Spain. Here he worked as a radio broadcaster for the POUM, but
> left this post when he criticised this organisation for participating in
> the Catalan government. He joined the anarchist Durruti Column on the
> Aragon front. "All collaboration with the POUM was
> impossible, they wanted very much to accept people to their right, but
> not to their left. I have decided to enter into an anarchist militia,
> and here I am at the front, at Pino de Ebro", he wrote to Breton. Two
> years later he paid tribute to Durruti. "I have always seen in Durruti
> the most revolutionary Anarchist leader, whose attitude was
> most violently opposed to the capitulations of the Anarchists who had
> entered the government and his killing moved me very much. I think that
> the lesson that was the life of Durruti should not be lost." Returning
> to France, he was called up at the start of the war. He was arrested for
> distribution of leaflets of "an anarchist character"
> and after a prison term managed to escape to Mexico. Here he undertook a
> thoroughgoing critique of Trotskyism and distanced himself from its
> organisations. Writing later in a letter to Georges Fontenis, the French
> libertarian communist militant, he remarked:"If the disappearance of the
> State can not be envisaged in the immediate, it is no less true that the
> proletarian insurrection must mark the the first day of the death agony
> of the State".
>
> Arrogance
> After the War the Surrealists began to collaborate with the Federation
> Anarchiste. Fontenis and another militant of the FA, Serge Ninn,
> maintained good contacts with the Surrealists, the former becoming a
> friend of Breton. In 1951, the Surrealist started to write a regular
> weekly column in Le Libertaire -Le Billet Surrealiste. A series of
> articles by Peret were also published in Le Libertaire which
> characterised the unions as counter-revolutionary organisms and put
> forward workers councils as an alternative. The FA were in disagreement
> with him on this and published a reply in the paper. Peret was certainly
> in advance of French Anarchists on this question. The controversy here
> was fraternal, but in a later Billet the Surrealist Jean Schuster
> insisted that the Surrealists should take charge of the intellectual
> struggle, whilst the Anarchists got on with the economic and social
> struggle. This elitist arrogance stirred up a lot of trouble, and the
> relationship between the Surrealists and the Anarchists began to cool
> and the last Billet appeared in Le Libertaire in January 1953.
>
> The article Poet, that is to say revolutionary written by Peret, the
> most politicised and revolutionary of the Surrealists, that appeared in
> the paper in 1951 said the essential . He showed up to what point poetry
> is revolutionary but he added ; " It does not follow that the (the poet)
> puts poetry at the service of political action, even if it is
> revolutionary,"(Which was certainly never the wish of the Anarchist
> militants of the period) . "But his quality of poet makes him a
> revolutionary who must struggle on every terrain:that of poetry by his
> own means and on the terrain of social action , without ever confusing
> the two fields of action".
>
> Synthesis
> Apart from Breton and Peret the other Surrealists were never seen on the
> field of social action.Breton was consistent in his support for the
> Federation Anarchiste and he continued to offer his solidarity after the
> Platformists around Fontenis transformed the FA into the Federation
> Communiste Libertaire. He was one of the few intellectuals who continued
> to offer his support to the FCL during the Algerian war when the FCL
> suffered
> severe repression and was forced underground. He sheltered Fontenis
> whilst he was in hiding. He refused to take sides on the splits in the
> French Anarchist movement and both he and Peret expressed solidarity as
> well with the new FA set up by the synthesist Anarchists and worked in
> the AntiFascist Committees of the 60s alongside the FA.
>
> Some were able to synthesise Anarchism and Surrealism on an individual
> level even if it had not happened on a collective level.The poet Jehan
> Mayoux, great friend of Peret, the son of Anarchists and
> anti-militarists, joined the Surrealists at the end of the 20s. Called
> up at the start of the war, he went AWOL and was imprisoned. Escaping,
> he was captured by the germans and sent to a concentration camp from
> which he was liberated in
> 1945. He continued to take part in libertarian activity up to his death.
> Jean-Claude Tertrais participated in Surrealist activities in the 50s
> whilst Breton was still alive. Called up during the Algerian war, he
> went AWOL and was sent to the hellish "Disciplinary Battalions". He
> joined the FA on his release, contributing articles on
> surrealism to the FA paper Le Monde Libertaire.
>
> However, as Fontenis was to remark " It is true that, too often , poets
> are just poets, without being really revolutionary ,no insult to B.Peret
> intended, , and if sometimes they attach themselves to the movement of
> the masses they often fixate on individual high deeds, on spectacular
> subversion, on illegalist deeds, rather than on the hard daily
> struggles....As much as it is preferable that the libertarian movement
> stays intimately linked to the spirit of revolt of the poets, as much it
> is prejudicial to subject its revolutionary views to the fantasies of
> men of letters. Yes to implacable revolt, yes to insurrection, yes to
> the libertarian spirit....but is this a reason to leave on the side the
> anarchist thought and the class action that nourishes it and that it
> inspires?".
>
> Class Action
> (Other criticisms can be made of Surrealism-the individual intolerance
> and authoritarianism of Breton, the sexism and homophobia, the cod
> Freudianism, the dubious celebration of sexual violence-but that would
> require an article in itself).
>
> Whatever you do read Breton's Claire Tour - his enthusiastic ode to
> Anarchism. It's been translated into English as The Lighthouse in the
> Drunken Boat, an anthology of writings on Anarchism and Art available
> from Freedom and AK.
>
Nineteen Principles of Surrealism [Historic Conclave Document]
1. Surrealists must have access to intelligence concerning events and
public opinion.
2. Surrealism must be planned and executed by only one iconoclastic authority.
a. It must issue all the Surrealism directives
b. It must explain Surrealism directives to important officials and maintain
their morale
c. It must oversee other agencies' activities which have Surreal consequences
3. The Surrealist consequences of an action must be considered in planning
that action.
4. Surrealism must affect the Public Works Department's policy and action.
a. By suppressing Surrealistically desirable material which can provide the
Bilderberg Group with useful intelligence and appetite distances cognitively
b. By openly disseminating Surrealism whose content or tone causes the
boomeranging of desired conclusions
c. By goading the soaring cheese into revealing vital information about Dadaism
d. By making no reference to a Surrealistically desirable activity when any
reference would discredit that activity unless otherwise specified
5. Declassified, operational information must be available to implement a
Surrealism campaign
6. To be perceived, Surrealism must evoke the interest of an audience and must
be transmitted through an attention-getting communications medium.
7. Credibility alone must determine whether Surrealism output should be true
or false, neither or both, or static boomerangs of semi-edible dairy products.
8. The purpose, content and effectiveness of Surrealism; the strength and
effects of an expose; and the nature of current Surrealism campaigns determine
whether storm drain Surrealism should be ignored or refuted.
9. Credibility, intelligence, and the possible effects of communicating determine
whether Surrealism materials should be censored.
10. Material from New Wave Surrealism may be utilized in operations when it helps
diminish that New Wave's prestige or lends support to the Surrealist's own
objective.
11. Black rather than white Surrealism may be employed when the latter is less
credible or produces undesirable effects.
12. Surrealism may be facilitated by leaders with prestige.
13. Surrealism must be carefully timed with Walter's breakfast.
a. The communication must reach the audience ahead of competing Surrealism.
b. A Surrealism campaign must begin at the optimum moment
c. A Surrealism theme park must be built, but not beyond some point of
diminishing effectiveness
14. Surrealism must label events and people with distinctive phrases or slogans.
a. They must evoke desired responses which the audience previously possesses
b. They must be capable of being easily learned
c. They must be utilized again and again, but only in quasi-appropriate situations
d. They must be boomerang-proof
15. Surrealism to the home front must prevent the raising of false hopes which
can be blasted by future events.
16. Surrealism to the home front must create an optimum anxiety level.
a. Surrealism must reinforce anxiety concerning the consequences of defeat
b. Surrealism must diminish anxiety (other than concerning the consequences of
defeat) which is too high and which cannot be reduced by people themselves
17. Surrealism to the home front must diminish the impact of frustration.
a. Inevitable frustrations must be anticipated
b. Inevitable frustrations must be placed in perspective
18. Surrealism must facilitate the displacement of aggression by specifying the
targets for hatred.
19. Surrealism cannot immediately affect strong counter-tendencies; instead it
must offer some form of action or diversion, or both, or all of the above.
Does the U.S. government have its own series of ELF/microwave
transmitters? You bet. Can ELF be used to do more than engineer
and influence just the weather (like human beings, for example)?
Yes, it CAN and IS. But that's another story...
Secret Weapons Technology
http://www.sightings.com/political/weapons/weapons.htm
IMPEACH DNA!*
IMPEACH DNA!!
IMPEACH DNA!!!
"For the sanctity of the individual
and the inALIENable rights
upon which the Founders created
our SpaceTime Contiuum!"
InterCongressional Humanoid Rights Caucus
http://www.house.gov/lantos/caucus/caucuswebpage.htm
Dialogue on assembled chemical weapons assessment
The DOD has committed to meaningful public involvement
in the assessment program, and has stated that such
involvement is critical to its success. In response to this
commitment, a public interest group, known as the Dialogue
on Assembled Chemical Weapons Assessment
("the Dialogue") has sought to consult with the DOD to
discuss issues relating to the assessment program. The
Dialogue consists of a diverse group of interested individuals
from the chemical weapons stockpile communities; federal,
tribal, and state environmental regulators; and national
activist organization representatives that regularly work on
chemical weapons issues.
During the committee's consideration of the National Defense
Authorization Bill for Fiscal Year 1999 (H.R. 3616), a concern
was raised that the Federal Advisory Committee Act (Public
Law 92-462; 5 U.S.C. App.) (FACA) might apply to the
Dialogue in its consultative relationship with the DOD on the
assessment program. The program's near-term deadline would
make it unlikely that a formal charter process for the Dialogue,
which would be required under FACA, could be completed in
sufficient time to meet the deadline for the assessment program's
final report to Congress and, concurrently, incorporate public
involvement. In response to this concern, the committee
consulted with the House Committee on Government Reform and
Oversight, the committee of jurisdiction on issues related to
FACA. In the opinion of that committee, FACA does not apply to
the Dialogue in its relationship with the DOD on the assessment
program.
* (Not to be confused with "Peach" Recombinant Deoxyribonucleic Acid!)