like Prometheus we are bound

another season in this hell

(…)

Give me sixty-nine years,
Another season in this hell.
It's all sex and death as far as I can tell.

Like Prometheus we are bound,
Chained to this rock of a brave new world,
Our godforsaken lot.
And I feel that's all we've ever needed to know,
'Til worlds end and the seas run cold.

Give me sixty-nine years,
Another season in this hell.
There is sex and death


(…)


Black Sun, Dead Can Dance, Aion, 1990

two witches (i)

two witches (ii)

Art Sabotage

ART SABOTAGE STRIVES TO be perfectly exemplary but at the same time retain an element of opacity--not propaganda but aesthetic shock--apallingly direct yet also subtly angled-- action-as-metaphor.
Art Sabotage is the dark side of Poetic Terrorism--creation- through-destruction--but it cannot serve any Party, nor any nihilism, nor even art itself. Just as the banishment of illusion enhances awareness, so the demolition of aesthetic blight sweetens the air of the world of discourse, of the Other. Art Sabotage serves only consciousness, attentiveness, awakeness.
A-S goes beyond paranoia, beyond deconstruction--the ultimate criticism--physical attack on offensive art-- aesthetic jihad. The slightest taint of petty ego-icity or even of personal taste spoils its purity & vitiates its force. A-S can never seek power--only release it. Individual artworks (even the worst) are largely irrelevant- -A-S seeks to damage institutions which use art to diminish consciousness & profit by delusion. This or that poet or painter cannot be condemned for lack of vision--but malign Ideas can be assaulted through the artifacts they generate. MUZAK is designed to hypnotize & control--its machinery can be smashed.

From:

The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism

By Hakim Bey

ghost (i)

that which defines perception itself

Avatars of chaos act as spies, saboteurs, criminals of amour fou, neither selfless nor selfish, accessible as children, mannered as barbarians, chafed with obsessions, unemployed, sensually deranged, wolfangels, mirrors for contemplation, eyes like flowers, pirates of all signs & meanings.

Here we are crawling the cracks between walls of church state school & factory, all the paranoid monoliths. Cut off from the tribe by feral nostalgia we tunnel after lost words, imaginary bombs.

The last possible deed is that which defines perception itself, an invisible golden cord that connects us: illegal dancing in the courthouse corridors. If I were to kiss you here they'd call it an act of terrorism--so let's take our pistols to bed & wake up the city at midnight like drunken bandits celebrating with a fusillade, the message of the taste of chaos.

From:

The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism

By Hakim Bey

Furacão Mitra

FURACÃO MITRA

FURACÃO MITRA
10 a 20 de Dezembro
na INTERPRESS
Rua Luz Soriano, 67 Bairro Alto
Exposições, Concertos, Novidades Editoriais, Feira Laica.
Horário: 4ªFeira a Sábado das 19h às 00h00
dias:10,11,12 e 13 & 17,18,19 e 20
INAUGURAÇÃO
DIA 10 Dez às 19h
com concertos de
Traumático Desmame e Mamede
entrada livre

if hope has flown away

Très vite dans ma vie il a été trop tard

Très vite dans ma vie il a été trop tard. À dix-huit ans il était déjà troptard. Entre dix-huit et vingt-cinq ans mon visage est parti dans unedirection imprévue. À dix-huit ans j'ai vieilli. Je ne sais pas si c'est tout lemonde, je n'ai jamais demandé. Il me semble qu'on m'a parlé de cettepoussée du temps qui vous frappe quelquefois alors qu'on traverse lesâges les plus jeunes, les plus célébrés de la vie. Ce vieillissement a été brutal.

Marguerite Duras, L'Amant (1984)

I can't see the future

You don't need to see it if you know it's there

Emily: I want you to tell me if there's a future for me and you.
Bill: A future, huh?
Emily: Yes.
Bill: How can I answer that?
Emily: Yes or no.
Bill: I can't see the future.
Emily: [annoyed] You don't need to see it if you know it's there.



Hal Hartley, Flirt (1995)