Details (Box 1, 2009)

See the sunset with no sleep

I've been thinking too much about you
See the sunset with no sleep at all
Constantly thinking about you
And i can't get through this at all

Trentemoller, Moan

The construction of situations is the creation of real time and space

It is not enough to burn the museums...

It is not enough to burn the museums. They must also be sacked. Past creativity must be freed from the forms into which it has been ossified and brought back to life. Everything of value in art has always cried aloud to be made real and to be lived. This 'subversion' of traditional art is, obviously, merely part of the whole art of subversion we must master (cf. Ten Days That Shook the University). Creativity, since Dada, has not been a matter of producing anything more but of learning to use what has already been produced.

- idem, ibidem.

Human life?

In the end

In the end, for all its fury (and Symbolists and Anarchists worked side-by-side in the 1890s) revolutionary art was caught in contradictions. It could not or would not break free of the forms of bourgeois culture as a whole. Its content and method could become transformations of the world but, while art remained imprisoned within the social spectacle, its transformations remained imaginary. Rather than enter into direct social conflict with the reality it criticized, it transferred the whole problem into an abstract and inoffensive sphere where it functioned objectively as a force consolidating all it wanted to destroy. Revolt against reality became the evasion of reality. Marx's original critique of the genesis of religious myth and ideology applies word-for-word to the rebellion of bourgeois art: it too "is at the same time the expression of real distress and the protest against real distress. It is the sigh of the oppresses creature, the heart of a heartless world, just as it is the spirit of a spiritless situation. It is the opium of the people" [Marx, Contribution to the critique of Hegel's "Philosophy of Right"].

- The Revolution of Modern Art and the Modern Art of Revolution, written by Tim Clark, Christopher Gray, Charles Radcliffe and Donald Nicholson-Smith.

Note: mistakenly described as a "manifesto" by Chronos Publications, which published it as a pamphlet in October 1994, this text was never published by either the English section of the Situationist International nor by the SI as a whole. It appears to have circulated as a "confidential" manuscript.

Forever and Ever

Your eyes are an island

You're a ghost on the highway,
And I'll love you forever
Ghost on the highway
And I'll love you forever
Forever and ever
And ever and ever
Your eyes are an island
And I'll own them forever
Your eyes are an island
And I'll love them forever
Forever and ever
And ever and ever
You're a ghost on the highway
And I'll love you forever
Ghost on the highway
And I'll love you forever
Forever and ever
And ever and ever

Ghost Highway, Mazzy Star
"She Hangs Brightly", 1990

Do you think the emptiness of space will ever crumble away?

Crystalised

(...)

i’ll forgive and forget
before i’m paralyzed
do i have to keep up the pace
to keep you satisfied

things have gotten closer to the sun
and i’ve done things in small doses
so don’t think that i’m pushing you away
when you’re the one that i’ve kept closest

(...)

Crystalised, The XX