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ART THAT KILLS

Chapter One
by George Petros

This is not a history, a series of biographies, or a compendium. Anyone looking for a reference work on the subjects herein must look elsewhere; I make no attempt to present complete, comprehensive data. Nor am I offering a critique.

This is a panoramic portrait of a scene, rendered in photos, documents, artwork and words. It illustrates the evolution of a movement.

I selected these materials because they most vividly animate the individual subjects. The narrative, in each subject’s own voice, offers little historical hype. From hours of taped conversations, I picked snippets that offered glimpses behind the masks of art and crime.

I asked all the questions herein, or presided over all interviews as editor (I note a few exceptions). In many cases I borrowed from the work of Michael Moynihan and Boyd Rice, my star interrogators from the days when I ran the all-interview Seconds magazine. I reproduce exchanges as they originally appeared in print. You’ll figure it out.


“Aesthetic Terrorism: Using the element of surprise through the usage of past clichés, knowledge and ‘home truths’ being flung out of joint, and therefore used as possibly a weapon or subversive force.”
— J.G. Thirlwell a.k.a. Foetus, 1984


1984 played out prophetically: George Orwell’s novel came to chronological coincidence, triggering the much-ballyhooed fulfillment of its dire predictions. 2001, however, didn’t see the Space Age promised in Stanley Kubrick’s film.

In the years between—an intense era bracketed by the Cold War and the Digital Age—rape, murder, torture, pedophilia, cannibalism, drugs, sedition, racism and blasphemy mixed with Pop Culture, history, literature, news, movies, TV, philosophy and science. All varieties of taboos and criminal advocacy coalesced, beyond “confrontation” or “shock.”

The artists, from a cross-section of American life, ranged from the abused to the spoiled, from successes to also-rans. Some basked in the limelight; some barely acknowledged their creativity.

Yes, I too am featured herein. You wouldn’t want a book like this from someone without an intimate knowledge of the subject matter, would you? The scene I describe I saw from my own vantage point. So what?


In the Eighties a new demographic arose: Caucasian, mostly Goy but including a few Jews, creative, urban, alienated, beat down by media, blamed for everything, very smart, looking for trouble, turned on by sex murders, happy to hurt others, eccentrically eclectic. The Sixties and Seventies had comprised the Golden Age of anything-goes; TV raised its offspring on equal doses of love and hate, good and bad, right and wrong. Traditionally compartmentalized taboos commingled haphazardly, their varied threats superimposing, juxtaposing, fusing.

The transgressive, subversive, pornographic and forbidden mixed with the legitimate, the approved, and the party line, sparking an aesthetic revolution. Rock provided the soundtrack; drugs provided the universal experience. A new outlaw type, a criminal aesthete, a true threat to society, flourished.

Starting circa 1984, through back-alley channels of Punk, zines, college radio, and a loose network of the like-minded, the artists found one another through mutual gravitation. Their inspirations included Manson, LaVey, Nietzsche, Crowley, the Occult, World War Two, drugs, murder. As their artwork and networking progressed, a unique look and feel developed. Only in retrospect does the scene come into focus; at the time it seemed to be simply a super-alienated version of Punk.


Two types found confluence in this scene: further-out elements of the Cinema of Transgression crowd, and those on the outer limits of Apocalypse Culture. Transgressive: New York, Heroin chic, all black, leftist/anarchist, fucked-up. Apocalyptic: West Coast, LSD, Speed, neo-psychedelic, fascistic, fucked-up. Generally speaking, the two currents merged into a loose, distant association of criminally-inclined artists in whose troubling work a multitude of taboos converged.


LSD, Speed, Heroin, Cocaine, Ecstasy, Absinthe, Marijuana, uppers, downers, Xanax, Valium, Methadone, beer, whiskey, vodka, bourbon, rum, gin, NoDoz, sleeping tablets, cigarettes, coffee and caffeine made it happen. Throughout recessions, boom times, bubbles, the AIDS epidemic, the Pax Americana and the War On Drugs, the characters herein got by somehow, surviving and spewing venom. Their art hurt people, set a bad example, burrowed into impressionable minds, subliminally implanted time-bombs in the unstable.


New tools, and new uses for old tools: videos, cassettes and copy machines evolved into Sci-fi gadgets. For example, in the beginning (1987) Seconds went to the cheapest printer as hastily typeset, hand-made “mechanicals” on stacks of shaggy, re-used cardboard. In the end (2000) a Mac G3 processed everything, spitting it out on two CDs.


Since Day One art challenged everything; its history abounds with misanthropy and anti-authoritarianism. Some used art to inflame and overthrow. It always incited, excited or blasphemed!

Historically, an artist tackled a single taboo, driven by fetish, injustice, poverty or disease. However, the artists herein broke all taboos simultaneously. They mixed it all. Aesthetic Terrorism!


A history: When at first some unheralded individual, tripping on LSD, grabbed a ballpoint pen and on notebook paper doodled, Underground Art began. When every icon lay smashed, every hypocrisy got exposed, and every taboo was broken, Underground Art ended—or, more precisely, percolated into above-ground mainstream art, where the status quo appropriated it.

Underground Art kicked off when a new perceptual tool became available: LSD. Illegal and without psychological precedent, it inspired uninhibited outlaw art documenting Psychedelia’s expansion into a far-reaching culture ultimately ravaged by the War On Drugs.

The first generation of Underground Artists, while quite mischievous, ultimately sought living beauty and bliss. This book features the “second generation,” who sought death and destruction.


From an era of nothingness, emptiness, zero, from the end of time, the end of history, Hello There! From an era of egos, cocks, pussies, narcissism, solipsism, hedonism and nothingness! From this fabulous era of nothingness, Ahoy, You Of Tomorrow! Study this era, these exhilarating days. Learn these lessons, you weak ones of the future—you watered-down versions of this day’s denizens. You scum of tomorrow—Fuck You!

From an era of anger and hate, action and reaction, alienation, fucked-up people, lies, crime, blood and bullshit—from an era of primal passions, hard drugs, hard cocks, killer art et cetera, Hello There!!!

HyperNormalisation

We live in a time of great uncertainty and confusion. Events keep happening that seem inexplicable and out of control. Donald Trump, Brexit, the War in Syria, the endless migrant crisis, random bomb attacks. And those who are supposed to be in power are paralysed – they have no idea what to do.

This film is the epic story of how we got to this strange place. It explains not only why these chaotic events are happening – but also why we, and our politicians, cannot understand them.

It shows that what has happened is that all of us in the West – not just the politicians and the journalists and the experts, but we ourselves – have retreated into a simplified, and often completely fake version of the world. But because it is all around us we accept it as normal.

But there is another world outside. Forces that politicians tried to forget and bury forty years ago – that then festered and mutated – but which are now turning on us with a vengeful fury. Piercing though the wall of our fake world.

 

 

Pulling Back The Curtain On DARPA, The Pentagon’s ‘Brain’

From stealth technology to GPS to vaccines, the Defense Advanced Research Projects Agency — or DARPA — has developed some of the most consequential weapons and technology through the ages. Annie Jacobsen, author of the new book “The Pentagon’s Brain,” talks with Steve Inskeep about the agency’s storied past and its intriguing future.

Sustainability is Destroying the Earth

Don’t talk to me about sustainability. You want to question my lifestyle, my impact, my ecological footprint? There is a monster standing over us, with a footprint so large it can trample a whole planet underfoot, without noticing or caring. This monster is Industrial Civilization. I refuse to sustain the monster. If the Earth is to live, the monster must die. This is a declaration of war.What is it we are trying to sustain? A living planet, or industrial civilization? Because we can’t have both.Somewhere along the way the environmental movement – based on a desire to protect the Earth, was largely eaten by the sustainability movement – based on a desire to maintain our comfortable lifestyles. When did this happen, and why? And how is it possible that no-one noticed? This is a fundamental shift in values, to go from compassion for all living beings and the land, to a selfish wish to feel good about our inherently destructive way of life.

Source: Sustainability is Destroying the Earth

To Change Everything: An Anarchist Appeal « subMedia.tv subMedia.tv

If you could change anything, what would you change? Would yougo on vacation for the rest of your life? Make fossil fuels stop causingclimate change? Ask for ethical banks and politicians? Surely nothingcould be more unrealistic than to keep everything the way it is andexpect different results.Our private financial and emotional struggles mirror globalupheaval and disaster. We could spend the rest of our days trying to douse these fires one by one, but they stem from the same source. No piecemeal solution will serve; we need to rethink everything according to a different logic.

Source: To Change Everything: An Anarchist Appeal « subMedia.tv subMedia.tv

http://www.crimethinc.com/tce/

To Protect And Infect Part 2 (Jacob Applebaum ) – YouTube

Published on Dec 30, 2013

Security researcher Jacob Appelbaum revealed what he calls “wrist-slitting depressing” details about the National Security Agency’s spy programs at a computer conference in Germany on Monday where he presented previously unpublished NSA files.

“They would be able to break into this phone, almost certainly, and turn on the microphone,” Appelbaum said at one point as he re-inserted the battery into his mobile device. “All without a court, and that to me is really scary.” Indeed, classified files shown later during his presentation revealed a device that for $175,800 allows the NSA or another license client to construct a fake cell tower than can allow officials to eavesdrop on texts and talks alike.

See the full article here: http://rt.com/usa/appelbaum-30c3-nsa-…

This is my first Video so please leave a comment if you have any tips for me.

Against Mass Society 

Many people desire an existence free of coercive authority, where all are at liberty to shape their own lives as they choose for the sake of their own personal needs, values, and desires. For such freedom to be possible, no individual person can extend his or her sphere of control upon the lives of others without their choosing. Many who challenge oppression in the modern world strive toward their conception of a “free society” by attempting to merely reform the most powerful and coercive institutions of today, or to replace them with “directly democratic” governments, community-controlled municipalities, worker-owned industrial federations, etc. Those who prioritize the values of personal autonomy or wild existence have reason to oppose and reject all large-scale organizations and societies on the grounds that they necessitate imperialism, slavery and hierarchy, regardless of the purposes they may be designed for.

Source: Against Mass Society | The Anarchist Library

Thanks to a New Zealand earthquake the homeless now sip champagne, ride horses and live like kings

“We’re sleeping in fancy sheets, drinking champagne and living in mansions… and we’re fucking loving it,”

Source: Thanks to a New Zealand earthquake the homeless now sip champagne, ride horses and live like kings

Call It Sleep by Isaac Cronin and Terrel Seltzer

A global, strategic evaluation of the social forces comprising the society of the spectacle. It is conceived from the view that, if individuals are to gain control over their lives, the world of hierarchical power must be destroyed.

Call It Sleep is the first visual work produced in the United States which makes use of the situationist technique of detournement – the devaluation and reuse of present and past cultural production to form a superior theoretical and practical unity.

Call It Sleep is based on material drawn from the most prevalent means of social conditioning- television-for two reasons. Familiar images easily acquire a strong negative charge when linked with a subversive content. Using images and techniques available to everyone has demonstrated once and for all, that detournement is within reach of anyone with a few basic appliances and the ability to communicate radical ideas.

Some people who see Call It Sleep are only interested to know if copyright permissions have been obtained from the producers of the various images in the tape. These “courageous souls” think that a disrespect for cultural and social conventions should begin after property rights have been observed. No doubt many of these people have already produced or dream of producing an artifact which they want protected by the state.

Others want to discover what special techniques or tricks of the trade are behind Call It Sleep and they may be disappointed because no sophisticated technical expertise was involved. The singularity of Call It Sleep comes not from the novel use of equipment, but from the practical application of a radical perspective on daily life.

Call It Sleep was completed in May of 1982. It was financed solely by its makers.

“One can only empathise with individuals, motivated by a sincere desire for reform, who join ecology groups, consumer organisations and alternative political parties. In any of these groups these individuals are directed by a firmly entrenched leadership through a maze of politically motivated compromises to an end that is sadly predictable: the indefinite postponement of profound social transformation, the enrichment of the careers of a few bureaucrats and the permanent disillusion of a number of intelligent individuals.”