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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