Archaeological finds

44.   Coming To Meet. The Maiden is Powerful.
        One Should not Marry Such a Maiden.

        Under Heaven, Wind:
        The Image of Coming to Meet.
        Thus does the Prince Act When Disseminating his Commands
        And Proclaiming Them to the Four Quarters of The Heaven.
    
        'Archaeological finds' by Raphael Montanez Ortiz --  peeling away the outer layers of man-made domestic objects such as mattresses, chairs and sofas. In the same manner Ortiz destroyed pianos, film reels, identifying these actions as a new destructivist form of musical concerts and cinema..Its goal was to tear into that objects and thereby release something hidden within their very making.
Deconstructing, to reveal , to get to the very substance, very essence, very ....
  Culture is a cluttered entity, with multiple layers  built on top of one another, with the genuine one, the first one, the most humane one forgotten  in the smoke of cultural texts and material  and visual meanings. Culture has its roots, has its subconsciousness  which is spiritual as well as material. These I call 'archaeological finds' , after Raphael Ortiz. 

          The archetypes 
the wisdom of Mankind expressed in the images . Our spiritual heritage constantly bleeding into the mainstream and the popular. The consciousness ass well as subconsciousness are in constant flux, our cultural as well as personal well of images, meanings, symbols evolves constantly and adds to our collective worlds and underworlds....
The popular, cultural, ,historical events became part of our cultural subconsciousness. Those are quoted between cultures. And in the 'foreign' cultures they become potent symbols of  dominance, struggle, changing dynamics between the powers of good an evil,etc.They as well become references in our own culture - Acconci's studio. Thus to be turned into a merely cultural event, de-traumatized, humorous image of power of liberation from history, traumas and religions of nationalism. 



                       

                                   

                                       

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                             NEW WORLD TRADE CENTER, New York 2002 / Acconci Studio (V.A., Dario Nunez, Peter Dorsey, Stephen Roe, Sergio Prego, Gia Wolff)

A BUILDING FULL OF HOLES: Since a building nowadays will be exploded anyway, a building should come pre-exploded…URBAN CAMOUFLAGE: A terrorist, flying by above, looks down & says, ‘We don’t have to bother about this building, it’s already been dealt with’…A BUILDING MADE OF HOLES: A hole is a cone is a tunnel is a tube: the holes make the structure of the building …Now that the holes make tunnels from side to side, from bottom to top, THE REST OF THE CITY COMES IN: It rains & snows through the building…Parks & streets & plazas spread through the building… Instead of a private building with a public space in front, public & private are intertwined…

MARILYN MONROE  SKYSCRAPER 

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LUIGI   ONTANI  AND   STILL  LIFE  BUDDHAS

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FOOD  FOR  THE  SOUL: PYRAMID  DISH

61.Inner Truth

Inner Truth. Pigs and Fishes.

Good Fortune.

It Furthers One to Cross the Great Water.

Perseverance Furthers.

The Image  

Wind Over Lake: The Image of Inner Truth.

Thus The Superior Man discusses Criminal Cases

In Order to Delay Execution.

''Before all, it is necessary to know the way which takes us  to the inner Self-realization of the Being.

It is urgent to comprehend the necessity to crystallize within us that which is called Soul.

Also before all, it is good to understand what the Soul is. Truly I must tell you that the Soul is a group of laws, principles, virtues,, powers, etc. People possess the essence, the psychic material to produce the Soul, but they do not possess the Soul yet.

Obviously someone who wants to possess that which is normally called Soul must disintegrate  the undesirable psychic elements (I's) like laziness, gluttony, etc As for the essence , it is the most worthy, the most decent thing inside of us.It is our consciousness. Unquestionably it is found bottled within all those multiple aggregates, processing itself by virtue of its own conditioning.

The consciousness in each one of you  is terribly asleep. Why? Because it processes itself by virtue of its own embottlement It is found in a hypnotic state and that can not be denied. And about the Soul itself, have you achieved , perhaps , its crystalization? If i said that you do not have  and immortal Soul , I would also be lying;I am conscious of it.Obviously each of you has an immortal Soul, but you do not possess it.

Many times someone receives a nice inheritance and he knows h has it, but one thing is to have it and one thing to possess it.

Where is our Soul ? It travels through the Milky Way, it moves throughout the Galaxy, but you who are sitting here  do not possess it. You know you have it , but it is one thing to to know you have it and another to possess it.

So it is valuable to possess it but how would one come to possess its Soul ? By definitely disintegrating the psychic aggregates, because the Soul and the aggregates are incompatible. They are like oil and water, they can not mix. If we do not disintegrates the psychic aggregates, the living personification of our psychological defects, we lose our Soul. 

What use would it be -said Jesus the Christ- if a man acquires all the treasures of the world but loses his Soul? It would be of no use to him. Is it possible to lose your Soul? Yes it is possible. Whoever enters the worlds of hell loses his Soul, that is obvious.....'' Lectures by Samael Aur Weor

        

 

      '' With patience shall you possess your Soul. '' Jesus the Christ

Mannequins, who are they? They are cast of human beings, of females, blended into more or less  sublime, erotic beauty.... But at the bottom of the cultural semantics of mannequins lies the body of a human. This is what  I am trying to archaeologically dig out by cutting , dismembering the cultural form called mannequins. Have I managed to achieved it? Can we see the cast of Human Body-The Human - underlying the familiar, popularized signification of its fiber-glassed form ?

INSPIRATIONS  

Came from the work of Yoko Ono, an her work with the beam of Light >

''The Imagine Peace Tower''

MESSAGE FROM YOKO ONO

Dear Friends,

On October 9th 2013, I will relight IMAGINE PEACE TOWER
in Iceland in memory of my late husband John Lennon.

Please ask all your friends to join us by Tweeting wishes
to IMAGINE PEACE TOWER (@IPTower), which you can do right
here at IMAGINEPEACETOWER.com (the Tweet box is top right).

You can also send wishes by post, email & Facebook.
Tell all your friends.
Spread the word!

I hope the IMAGINE PEACE TOWER will give light to the
strong wishes of World Peace from all corners of the planet
and give encouragement, inspiration and a sense of solidarity
in a world now filled with fear and confusion.

Let us come together to realise a peaceful world.

Love is our energy.
Wisdom is our power.
It’s time to shed light to all corners of the world.
Enjoy the trip we make together.

love,

Yoko Ono Lennon
October 2013

The Bed Event by Yoko Ono and John Lennon

ONOCHORD

ONOCHORD

Send the ONOCHORD message:
“I LOVE YOU”
by repeatedly blinking the light
in the frequencies and durations
required for the message:
from ships
from the top of the mountains
from buildings
using whole buildings
in town squares
from the sky
and to the sky.

Keep sending the message
to the end of the year
and beyond.
Keep sending the message
everywhere on the Earth
and to the Universe
Keep sending.

For individuals:
send the message by hand
or using flashlights
or with lighters

The message I LOVE YOU in ONOCHORD is:

I           i
LOVE    ii
YOU     iii

I love you!

yoko ono 2004

I DON'T KNOW

35 Progress. the Powerful Prince
        Is Honored with Horses in Large Numbers.
        In a Single Day He is Granted Audience Three Times.

what I do is not art. it is habit. i don't know what art is. art is not habit.not art is habit. is art not habit habit ? habit art  is art ? art rabbit is not habit . habit rabbit art. art habit rabbit ? art taxidermy. art taxidermy habit. light art habit.

everything is art but art is not.


                              HABIT  ART

habit
is there a history of habit? or genealogy of habit ? habit is a habit. habit is a pattern but pattern is not a habit. we are all equal in the habit.  habit is democratic.small habit big habit good habit bed habit wrong habit right habit it is still the habit.  we can get rid of habit  and we can  start a habit. we can become aware of the habit. what then? when I become aware of habit ? i can fall in love with my habit..my beloved habit.  break the habit. conquer the habit. can habit conquer me ?  to habit and not to habit. can I habit something ? can something habit me?can I habit something in/away/out/to/towards/ up/down ?

In this project I will examine  The cultural, behavioral, emotional and will-concerned  activities/habits/patterns that we, the participants and contributors of and to the Cultural machine/system, practice more or less consciously. But that recognizable rituals and images but provide us with the feeling of identity and  stability, constancy of recognition of the cultural environment  and its material counterparts. Habit Art is about observing and collecting. I would draw the affiliation with the practice of Andy Worhol and his  artistic mass productions of cultural and consumptive images and products.

zen habit 


IChing habit

The Sun Rises over the Earth:
The Image of Progress.
Thus the Superior Man Himself
Brightens His Bright Virtues.


paradoxes of the habit:

habit changes and habit doesn't change
'habit of saying we have no habit'
habit of Fortune Telling inquiring
''putting boxes in boxes,carrying bags in bags''
''we get used to the worst (survival adaptability) and to the best (chronic dissatisfaction)....''

Objects are performative
'every object is an event….and every event has object-like quality'
Studio International 192 No.984 Nov-Dec 1976 p85


Chrissie Iles on Yoko Ono  
performance as visual signification

Water the most conceptual material….
like light ,light is just less containable 
Yoko Ono water and its container  its a meeting of the bodies - the self and the other, the self and the mother….

  light and darkness the meeting/encounter of the spiritual-individual and the unknowable- the adventure, the Life,
the relationship between Trust and Quantum Leap


                                          destroying

  

the recipe

Art as undoing social norms.

Undoing the thinking that the Alternative is not possible

We can make a Change, We can self Change and Change the surroundings us surrounding 

the recipe for Change 

ACTION          N        FEELING

LOVE              N        BEAUTY

ABSURDITY    N        ACCEPTANCE 

ACT                N        NON-JUDGE MENTALITY

PLAY              N        LOVE

CELEBRATE    N        SHARE

SHARE           N        CHANGE

a spoonful or handful, depending on how much is needed

 mix it together and bring it to boil, keep it hot, serve free

  

"The knowledge of the subtle, magnetic relationship between a

man and a woman,{ man and a man, woman and a woman and 

between any gender variation} and the fact that it is part of a larger whole.

Do you remember how you felt in the cave--that I was all women

and you were all men ? Do you remember how our personalities

stood aside and we were just channels of force--the positive and

negative forces out of which creation is built? And how, when this happened, primordial powers

rushed through us straight from the Unmanifest, and it was a

tremendous thing? This was what was aimed at by the temple

trained priestesses , and it is what is lacking in

our modern understanding of these things. You can see dozens

of marriages where there is an annual baby and occasional twins

and yet something is lacking; and you can see curious

companionships where they can't marry that yet fulfil a great

need--and they don't necessarily go week-ending either, Wilfred.

People think that sex is physical and that love is emotional, and

they don't realise that there is something else between a woman and

 a man ....[between woman and a woman between man and a man

 and any gender variation]

 which is magnetic in just the same way as the

compass turns to the pole; and it isn't in them any more than it

is in the compass, but it is something that passes through them

and uses them, and it belongs to Nature.’’ Dion Fortune ''Sea Priestess ''

HABIT ART

I The Culture Function on Repeated Patterns, I Thrive on Habits.
   that is how we preserve the Identity of our Cultural context and canons of power and standards of Beauty, standards of Evaluation and Judgement, any standards any  trodden path is preserved by repeatedness and habits.  Break it ! damage it! deconstruct it !

undo/unmake the habit , step on it and move backwards to its beginning to check where it really comes from... does it come from you or from the external  training by society. Strip down the 'activity'  the empty repeated activity and think and feel.
 unmake  unmake    unmake


                                                              LAST SUPPER 

BATTERY FUELED CANDLES ILLUMINATE THE SUPPER's END AND THE NEW BEGINNING . PINNING THE HABIT DOWN

PERSONAL JOURNEY STARTS HERE : PUSH THE BUTTON   SWITCH ON THE CANDLES

THE  CANDLES OF  NEW BEGINNING

DESTRUCTIVISM BY  RAPHAEL MONTANEZ ORTIZ 

destructivism Manifesto  1962 Raphael Montanez Ortiz 

'There are today throughout the world a handful of artists working in a way which is truly unique in art history. Theirs is an art which separates the makers from the unmakers, the assamblers from the disassemblers, the constructors from the deconstructors. These artists are destroyers, materialists and sensualists dealing with process directly.These artists are destructivists and do not pretend to play at God's happy game of creation; on the contrary, theirs is a pervading response to the will to kill.It is not the trauma of birth which concerns the destructivist. He understands that there is no need for magic in living. It is one's sense of death which needs the life-giving nourishment of transcendental ritual.

We who use the process of destruction understand above all the desperate need to retain unconscious integrity. We point to ourselves and confess ,shouting the revelation, that anger and anguish which hide behind the quite face is in service of death, a death which is more then spiritual. The artist must give warning, his struggle must make a noise,it must be  signal. Our screams of anguish and anger will contort our faces and bodies, our shouts will be  'to hell with death', our actions will make a noise that will shake the heavens and hell. Of thi stuff our art will be , that which is made will be unmade, that which is assembled will be disassembled, that which is constructed will be destructed. The artist will cease to be a lacky, his process will cease to be burdened  by a morality which only has meaning in reality. The artist's sense of destruction will no longer  be turned inward in fear. The art tat utilizes the destructive process will purge , for as it gives death, so it will give life.

Transcendence is for the living not for the dead. It is the symbolic sacrifice that releases one from the weight of guilt, fear, anguish. It is the sacrificial action which releases and raises one to the heights. The sacrificial process in art is one in which a symbolic act is performed with symbolic objects for symbolic purposes, initiated by the need to maintain unconscious integrity.

The dynamics of our unconscious integrity is fantastic. It arranges content in terms of thousand eyes for an eye, boils death and destruction for the trespasser........ 

Just as displacement and distance are an essential and necessary artistic means which enable the artist to submerge himself in the chaos of his destructive internal life  and achieve and artistic  experience , so too it is essential that the encounter between the artist and his material be close and direct. The artist must utilize processes which are inherent in the deep unconscious life , processes which will necessary  produce a regression into chaos and destruction.

A displacement and parallel process exist between man and the objects he makes. Man like the objects he makes, is himself a result of transforming processes. It is therefore not difficult to comprehend how as a mattress or other man-made objects is released from and transcends its logically determined  form through destruction, an artist, led by associations and experiences resulting from destruction of man-made objects, is also released from and transcends his logical self.' 1

1.100 Artists Manifestos, From The Futurists to the Stuckists. Selected by Alex Danchev, London 2011

Culture is man-made. Should be deconstructed to reveal individuals' real genuine selves. 

Buddhism Zen talks about killing,destroying the ego to be able to rebirth to higher humanity.

Osho: ' 'So many of you are here, but I know the question because deep down the question is one: the anxiety, the anguish, the meaninglessness, the futility of this whole life-not knowing who you are. But you are filled. Allow me to break this cup. This camp is going to be a destruction, a death. If you are ready to be destroyed  something new will come out of it. Every destruction can become a creative birth. If you are ready to die  you can have a new life, you can be reborn.'' 

Yoko Ono and Damage Control at Hirshhorn Museum . Yoko Ono talks and works with the individual dimension of destruction, the emotional /mental damage that other people  governments can inflict on us. About the ignorance or purposeful actions that people or institutions undertake to break our dreams/ideals/sensibilities. By destroying one another w risk  losing our minds and idealism... then w risk losing our planet. The clear mind is necessary to live, to be able to see the dangers posed by others, to control th damage

We are enemies to ourselves.Clear, empty mind and love can only prevent further destruction. 

            The Futurist Manifesto on Cooking

In 1932 Filippo Tommaso Marinetti, the founder of the Futurist movement, published his manifesto of cookery La cucina futurista ('Futurist cookery'). In common with the rest of his proposals for the reform of the arts, it is sometimes difficult to decide if his ideas were ever meant to be taken seriously, or if his intention was simply to provoke a reaction. Whatever the truth is, he certainly succeeded in causing controversy among the general public with his outlandish ingredients and bizarre combinations.

The 1909 Futurist manifesto, which had concerned itself mainly with literature and the fine arts, was developed by Marinetti and his fellow Futurists into a complete design for living, embracing many facets of contemporary life, such as fashion, interior design, typography, and entertainment. The Futurists whole-heartedly welcomed the modern: key concepts were speed, change, noise, machinery, and above all vitality and dynamism. Marinetti's views on Italian cookery were clearly an extension of these ideas. He saw the Italian table (and the diners at the table) as being weighed down by heavy food, especially pasta, whose function was to fill up stomachs, but which was, according to Marinetti, deceptive in its nutritional content, and likely to produce slow and placid characteristics and scepticism in those who consumed it habitually. In his words, it induced 'fiacchezza, pessimismo, inattività nostalgica e neutralismo' ('lethargy, pessimism, nostalgic inactivity, and neutralism'). This absurd gastronomic religion, he said, must be abolished immediately.

Predictably, these ideas provoked uproar in the Italian press and among the general public. In every restaurant and in every home there were arguments about the benefits or otherwise of a diet of pasta. The Mayor of Naples declared that vermicelli al pomodoro was the food of the angels; Marinetti's reaction was that, if that were the case, it simply served to confirm the boredom of life in paradise.

If his rejection of pasta was controversial, then his proposals for what to replace it with provoked bafflement. Ingredients were designed to create the most sensual experience possible: they included flowers, exotic fruit, coffee, raw eggs, and cloves. To complement this sensory experience, warmed perfumes were to be sprayed in the dining room, and the diners were given materials of different textures such as velvet and sandpaper to stroke with their left hand. Sweet was combined with savoury to produce startling effects, and bitter and sour tastes were given their place: sardines with pineapple, mortadella with nougat, cooked salami with coffee and cologne. An aphrodisiac cocktail was devised, consisting of pineapple juice, eggs, cocoa, caviar, red peppers, nutmeg, and cloves, no doubt with the intention of stimulating 'dynamism'.

Futurist cookery also had a more sinister side: the Fascists, mindful of the need to reduce expensive imports of wheat needed to produce pasta, took up the idea that pasta was not a suitable food for fighters and heroes, and instead promoted locally-grown rice as a preferred substitute. In the end, of course, neither Marinetti nor the Fascists succeeded in breaking the bonds between Italians and pasta, and Futurist cookery is remembered as a curious but inconsequential dead-end.

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