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the adventure finds you...
URBAN TANGENTS
#
UR BAN SURVIVAL
RESPECT TO THIS LAND AND THOSE PEOPLE WHO CAME FROM THIS LAND.
THIS LAND OWNS US.
LOVE THIS LAND.
LETS SHARE THIS LAND TOGETHER.
\\ A PRO-active city project supporting the underground network of alternative communication \\
Art
punx
La nuit
les murs de la ville
parlent des gens
qui ne sont psad’ici
qui sontd’ailleurs
d’une autrenuit
Night falls
the walls of the city
speak of people who
are not from here
who are from elsewhere
from another night
Our eyes glance through infinity and become fixated on
a trajectory of brain thoughts, colours, complex puzzles,
myths, and an exact location buried beneath the city.
URBAN TANGENTS//
//the adventure finds you
.......................
the urban personality
I walk the narrow
streets my heart thump-
ing, an omnipotent street-
l i ght cast i ng shadows
across t he pi ss- soaked
alleyway of non-existent
doorways and nauseating
corners, where you know
stenciled, scrubbed, painted, sprayed, postered, stenciled, photo d,
photocopied, cut up, collaged, photocopied, reproduced, photocopied,
reproduced, postered, scrubbed, stenciled, painted, sprayed, demolished.
At least there’s no
fucking around any more
with the illusion of
liberal democracy.
The lines have been
clearly drawn and we
must now accelerate our
levels of organisation
accordingly.
you ll find a fit or
two, or three. Is
t hi s t he ci t y I
know? The city of
fold-up cafes of
ultrastylish coffee
\\
I n t he
soci et y of
sadness, ar t i s
separ at ed f r om l i f e,
what ’ s mor e, ar t i s
increasingly more separated
from art itself, because it is
possessed, made rotten, by
mercantile values. \\
THIS IS A NOTICE TELLING THE
AUTHORITIES TO FUCK OFF .
SHOW RESPECT AND STOP
CRUSHI NG OUR CREATI VI TY
AND HISTORY.
drinkers and cobbled uneven edges where my
bike refuses to go. This is a time of war, they say.
The words chase me round narrow bends, cata-
pult me into a state of uneasy queasiness. I
remember months ago stealing headlines from a
newsstand. They declared in bold black font the
war on terror and the pursuit of freedom .
Buzzwords for the wealthy and their hidden
agendas. The headlines are silent now or they
proclaim Serial Elvis Madness whatever the fuck
that means, but hey, it keeps the masses happy.
I return home pissed. The city is still. Strange for
a city. As I roll a cigarette I look across at my
neighbours, twenty floors of life in an architec-
tural monstrosity, and watch the synchronising
blue of TV screens, flashing Morse code into the
black of night.
The city calls for plagiarism. many words are stolen in this publication.
many ideas have existed before. All uses of the word new in this publica-
tion are false. do not believe them. So, respect and thankyou to all the peo-
ple we have stolen words and ideas from, thankyou for your inspiration.
Art is creativity and creativity is life. ordinary skills, learned
traditions. shapes form, movement transforms. I see art. It
challenges me. a pzzle\\ a map. time rotates... My city art
galleries inspire me. Push me. Each curve, sharp, draws me
closer. cold. cool. An image forms in my head. my mind.
Strong. An image which is structurally sound: inversed and
upside-down. And play...
Art speaks for itself. No one else. It exists. Uneasy, and
fought over. Interpretations draw from childhood experi-
ences and ancestral wisdom. Arguments formed over past
histories. Again art challenges. It threatens us. Drowning
out all screams of terror. Crushing all hopes of rescue. You
are
forever connected to art - attracted & repelled. One cannot
expect to grasp this concept immediately. It is a learned
concept. It requires training. Practice. Although not ’work’*.
A new work. And leisure is integral. For this allows the mind
to play. Become relaxed, and open to other senses, compo-
sitions, angles,....and the concept of dimension. It requires
different levels of social interaction. Different forms of
friendship. New meanings to class, patriotism and sub-
culture. The ordinary will unveil all its depth and beautiful-
ness. And I. Well I will admire. The slow progression in
myself. As my training develops.
[*traditional]
Proudly Australian
‘Young and Naive’
You have much
faith in your
machines.
Afternoon turns to night.
late night haircuts,
under a bright outside light.
planting scavenged plants.
returning home with found goods.
shared stories of friendships.
and talk of seeing punk bands alone.
\/ perception of the city
in motion
My conscious slips. Time stalls as i do backflips. The traf-
fic noise bothers me. didn t think it would. the blood of
society runs faster. More efficient. More purposely. The
traffic stops. The traffic goes. Stragglers and deviants
break the rules.. But still the blood flows. I have only just
realised that maybe my interest in science is an aesthetic
one. I love aerial photography. I am fascinated by highly
magnified microscopic images. i love texture, light, frac-
tured detail...
Sitting on a couch, up the back, at a party the other night
my attention was drawn to the visuals. The video mixers
were playing some distorted video shots of traffic, from
above and sped up. The traffic moved through the city.
Stopping. Starting. Moving purposely, constant. Mass
numbers of cars passi ng through the ci ty wi th ease.
T h r o u g h t h e i n t r i c a t e , c o mp l e x r o a d n e t wo r k s .
Channelling to the major urban, suburban, centres. The
footage looked like highly magnified images of red blood
cells passing trough the veins of an animal. I came to pon-
der the reality of modern evolution. Is the technology we
see around us, and our urban lives, the next stage of
human evol uti on? We become more aggressi ve, l ess
recept i ve, t o i ncrease t he t he ef f i ci ency of our new
ecosystem - The City. We drive sometimes without realis-
ing we are driving. We construct large arteries, huge con-
crete freeways, linking urban centres. The blood of the
freeway moves wi thout real i si ng where i t i s passi ng
through. Separated from the land, the flesh. Yet bringing
life supplies to the major organs. People fight to get more
done ... As the saying goes war is good for the econ-
omy . On the streets we walk hard, to help the city grow.
................................................................................
Driving, watching, i get the urge to pull over and write. I
like the sight of a rotting highway. You know when you ve
driven the same highway for a few years, and you notice
that you re on the new highway which has just bypassed
your old favourite little town. You ve missed that road-
house and the crazy country general store with everything
you need for survival in it with no prices. Well i like seeing
the old highway and seeing the decay. It gives me hope.
The grass is creeping in from both edges. The cracks
increase, spreading their fractal organic patterns. The tar
has faded to the colour of dirt. The bridge has rotten, rust-
ing at every bolt. It reminds me of this story i read when i
was a kid. In the story these kids are walking to the city,
from the bush, in a post war/ post-modern Australia. All
the roads and houses are deteriorating, and they keep
bumping into all these survivors. When they get to the
city it has rotted and is crumbling back to earth. They live
near the old collapsing zoo in the city, with the now wild
animals on the roam. They join with others trying to live in
the world. I loved these images of a decaying modern
materialistic world. Maybe i was more into the adventure
and survival. maybe this is why so many people crave
these instincts. They, we, miss adventure, by ourselves or
with others, and the feeling of having some responsibility
over our very survival... cars shake the car i sit in as they
speed past me parked too close to the side of the high-
way. i feel i must move on and take on those familiar hills
which await me, listen to some good tunes, and ponder
some more.
......
c
>>> How much fun do you have that costs nothing?
>>>
>>> The answers to these questions may cause you to think
of other questions. You may then plan other experiments for
yourself. The answers to these questions and others which
you may plan for yourself help you to understand the
environment we live in.
LEARNING THROUGH MISTAKES IS LEARNING HOW TO LEARN. LEARNING THOUGH MISTAKES IS LEARNING A
NEW WAY OF LEARNING. AUTHORITY SPEAKS OUT AGAINST THIS. SO LET AUTHORITY LEAVE YOU. LET ALL
FORMS OF SELF BEING, BOTH IMPOSED ON YOU BY YOURSELF OR OTHERS, WHICH PREVENTS YOU FROM
BEING YOURSELF LEAVE. RELEASE THE TIES WHICH HOLD YOU BACK. LET IT GO. YOUR MISTAKES WILL BE
FORGOTTEN THROUGH YOUR LEARNING.
Come on an adventure. This is a
chance to share our secret spots,
traverse the empty streets of night,
have picnics beside derelict storm
wat erdrai ns whi l e wat er t ri ckl es
d o wn a h i d d e n c i t y s t r e a m.
Dumpster feasts, organic delights,
home baking and cups of tea. We
can visit city lanes, admire beauti-
ful, treasured, street art. Take paint
to the walls, collaborate, make mis-
t akes t oget her, communi cat e.
Explore building sites, raid skips,
steal plants. Lets trade knowledge
of city surveillance, security and
quiet spots/ locations... escape the
cold, escape the heat. experience
mad pop cul ture, wi tness human
endeavour.
Connect, experience, explore. Tell
stori es of past adventures. Ri de
bikes together. Go on road trips to
the most fucked up, polluted indus-
t ri al part s of t own, or down t he
posh highways where people pay
daily through their credit cards, or
through the yuppie streets of night-
club mayhem.
Take trams, and buses, and trains,
and f er r i es. Cl i mb r oof t ops i n
search for a better view. Look for
urban interventions, interactions;
altered street signs or billboards,
road bl ocks, mural s, ki ds cubby
houses, posters, street public
not i ceboards, buskers, ol d men
posses, dumped cars ...
Di scover remnant nati ve habi tat,
survivors of development. Chase
dogs in parks. Sit around an open
fi re. pl ant trees, nati ve grasses,
gr ound cover s and veget abl es.
r eveget at e r oundabout s, empt y
lots, footpaths, medium strips and
in crappy parks.
Explore shops, finding collectable
remnants of the past.
Take supplies. Learn first aid and
survival skills.
Lets record our adventures, Lets
leave our mark. Lets write our sto-
ries down. Who is us , you ask...
us i s who ever reads t hi s and
rel at es. whoever reads t hi s and
takes acti on. Whoever takes the
adventure when it finds them. You,
you are us.
Get i n cont act , f or m your
own tour company, spread
the word, travel with friends,
go on solo missions, take a
buddy and scavenge through
hard rubbish/ throwout day,
recl ai m your suburb, l eave
your mark.
Cont a c t t he CI VI L TOUR
COMPANY through this pub-
l i c a t i o n o r e ma i l :
civil@antimedia.net to make
pl ans/ r endevous t i me and
location. Start making your
maps and col l ect i ng your
ideas.
keep an eye to the street for a
letter addressed to YOU.
Fuck 24/7
Fuck 7/11
Sleep patterns distorted.
Confusion engulfs power.
Pills to help you sleep.
Pills to help you work.
Colonising the night.
Insects journey through the city.
They don’t carry anything, hardly
ever encounter one another [or
similar beings] and they meander
about - eating, sleeping, hiding.
Not lonely - Loners, little sur-
vivors. \\Jess
always make the audience
suffer as much as possible.
st albans kids
tree busts through concrete
nodal futures
dronal mass
What strikes me is the fact that in our society, art has become something which is only related to objects and not to individuals, or to life.
The line between art and life
should be kept as fluid and
indistinct as possible.
WE ARE ARTISTS BECAUSE WE MAKE
ART AND WHAT WE MAKE IS ART
BECAUSE WE ARE ARTISTS.
>>
>>
>>
>> Sadly, these days B. Traven and his many
novels have been assigned to relative obscurity
in the world of literature and politics. Traven
was but one of the many aliases used by this
mysterious author, adventurer and revolutionary.
Many historians have tried to uncover the secret
behind Traven’s identity, linking him from the
illegitimate son of Kaiser Wilhelm II to a
theology student from Cincinnati. Whatever the
case, Traven always shied away from the
spectacular role as author as superstar,
preferring to let his novels be judged by the
ideas contained within.
>>
Traven’s wish for privacy and anonymity can be
witnessed by the number of different assumed
names he went under to disguise his identity.
Over the years he went under many different
guises such as Ret Marut, Traven Torsvan and Hal
Croves. Our interest in Traven begins with his
earliest proven incarnation as Ret Marut. Marut
was an aspiring German actor who later became
involved in anarchist politics and also edited
an anarchist/pacifist magazine "Der
Ziegelbrenner", "The Brick burner."
>>
Marut wasn’t just an armchair revolutionary
though. He actively participated in the
insurgent Bavarian Republic of Councils in 1919
as chief censor of the bourgeois press, keeping
the latter day Andrew Bolt’s in their place.
Marut was active in the Bavarian capital,
Munich, and narrowly escaped summary execution
when the revolutionary fervour was crushed by
nascent fascist Friekorps and ‘loyal’ troops
sent in by the German equivalent of the Labor
party, the Social Democrats. Understandably,
Marut went underground after the White reaction
destroyed the Council Movement in May 1919. Up
until September there were still executions of
revolutionaries taking place to avenge the
middle classes who had had power temporarily
wrenched away from them by the proletarian
class. Marut later resurfaced in Chiapas, Mexico
in the early 1920’s under the name Traven which
he wrote his first, and in my humble opinion,
greatest novel, "The Death Ship."
>>
The Death Ship is the story of a horrendous chain
of events that befall an American sailor
appropriately named Gerard Gales. Gales loses
his identity, humanity and right to existence
when his ship sails without him with his sailor’s
card and passport still on board in his jacket
pocket. Stranded on foreign shores, our sailor
is systematically persecuted by the authorities
of various European countries he has no desire to
even be in. Gales is frequently jailed, deported
and even sentenced to death simply for the crime
of being a worker without papers. Needless to say
he is treated with respect only by fellow
workers who share what little they have with him.
>>
Bereft of a sailor’s card, Gales cannot secure a
job on a ship to go home to New Orleans. To
further complicate matters, the American
consulate won’t supply him with the necessary
papers because he has no proof of his identity.
Gales travails with bureaucracy assume truly
Kafkaesque proportions in his attempts to prove
his American citizenship; while wealthy fellow
travellers obtain the necessary documents within
minutes provided by obsequious officials who
make ordinary folk wait around like cattle.
>>
Desperate to escape his precarious situation,
Gales reluctantly accepts a job on the Yorikke ,
a rusting hulk rumoured to have been built in the
times of the ancients. Gales fellow crewmates
are all in the same unfortunate position, unable
to secure passage on a decent ship with Union
conditions. The Yorikke is truly a death ship.
The work regime is torturous and simply
unsustainable with sailors jumping overboard or
murdered by the captain, unable to keep pace with
the hellish amount of work. Not much can be said
for the health and safety conditions either with
sailors frequently burning themselves in the
antiquated steam room, and even the ships rats
won’t touch the swill doled out to the hapless
and perennially hungry sailors.
>>
Some critics have dismissed The Death Ship and
Traven’s body of work as being hopelessly dated
and idealistic because Traven makes explicit
attacks on the dehumanising aspects of
capitalism and unfettered greed. Indeed, the
last few decades have seen popular literature
retreat either into general misanthropy or even
worse, the glossolalia of post modernism. These
days novels that articulate the premise that any
positive change from below is possible are as
rare as hen’s teeth. Indeed we are expected to
consume defeatist literature which not only
depicts the working class as boorish, uncultured
thugs, schooled in misogyny and mired in
xenophobia and self-hatred, and yet we are given
no plausible reasons for such outlandish
stereotypes.
>>
Traven was cut from much different cloth
compared to the current crop of defeatists and
out right reactionaries masquerading as serious
authors so popular today. While Gales and his
fellow sailors often faced insurmountable odds
put in their way by the real axis of evil, the
bosses, cops and the state, they always fight
back using solidarity and mutual aid as the only
weapons they have. While The Death Ship is a
truly terrifying book to read, it is also full of
black humour, the inventiveness of which is
truly astonishing. There are also numerous
references to the Industrial Workers of the
World and the Russian Revolution which remind
the reader of a time not so long ago when the
ruling class was in collective retreat and world
wide revolution seemed just around the corner.
>>
In the current political climate, The Death Ship
serves to remind the reader of the plight of
seafarers, particularly those from Majority
world (Third world) countries who sail on modern
day death ships which are registered under flags
of convenience so the owners can circumvent
environmental, health and safety, and pay
conditions hard fought for by previous
generations of sailors. At the moment in
Australia, ships that operate in Australian
waters are being reflagged, the crews sacked and
then replaced by Ukrainian sailors on only
$20,000 a year. Needless to say, the Ukrainian
crews will be forced to work much harder for much
less than their now unemployed Australian class
brothers and sisters as transnational capital
seeks to push wages and conditions down in the
global race to the bottom. Hopefully sailors,
who have traditionally been the most
revolutionary sector of the working class, will
not fall for the fratricidal myth that their jobs
are being stolen by cheaper Third world labour.
This blame the victim mentality only serves to
disguise the role that governments in
conjunction with shipping companies have played
in decimating the working conditions of sailors.
>>
Likewise, comparisons can be drawn between The
Death Ship and the current plight of workers
wishing free movement across borders worldwide.
Not much has changed since Gales was locked up
for being an illegal alien in the 1920’s to
Australia in 2002 where workers are put in camps
in the desert simply for the crime of arriving
without the necessary documentation. In fact
authorities would prefer that undocumented
workers died in their quest to reach the workers
paradises of America, Australia and Europe. Who
mourns the 2000 Latin Americans who have died in
the last 10 years trying to cross the militarised
border between Mexico and the U.S.A, or the 351
Afghans and Iraqis who drowned trying to reach
Australia in an area under constant military
surveillance? Not to forget the Moroccans washed
up on Spanish beaches, Chinese suffocated in
shipping containers en route to Britain or
Gypsies murdered by racists everywhere?
>>
Every time a Union leader blames ‘foreigners’
for taking jobs this serves as justification for
the unabated pogrom committed against workers
without papers everywhere. Adopting the rhetoric
of the masters only makes workers more
despicable slaves when they swallow wholesale
the bile spewed forth by their rulers. To be a
patriot is to be an assassin especially when a
fellow worker is at the other end of sights. Now
more than ever, workers of the world have to
realise that national boundaries are no more
than lines a cartographer has drawn on a map.
Capital knows no boundaries, so why should we
continue to self-administer the poisons of
nationalism and racism which divide us rather
than unite us. "Workers of the world, you have no
country!"
From Joe Zigman <melbogans@hotmail.com>
Traven B.
Adventures: RIDL [SYD]
Soldiers leave the armed forces
[Chad McCail]
for starters checkout:
indymedia.org
spacestation.org
thepaper.org.au
octapod.org
antimedia.net
myspinach.org
cat.org.au
scan.cat.org.au
active.org.au
skatv.org.au
schnews.org.uk
sarai.net
disinfo.com
guerillanews.com
Use the independent media.
Participate. Contribute. Support.
Get involved.
spiralobjective.com
citystate.org
getsmart.org.au
roguestates.com
criticalmass.org.au
prwatch.org
dolearmy.org.au
anarchy.org.au
boatpeople.org
videoactivism.org
bignoisefilms.com
freespeech.org
iratiwanti.org
foe.org.au
antimedia.net/data
urbancyclist.org
skatv.org.au
undercurrents.org
anti-bases.org
wwoof.com.au
xchange.anarki.net
banksy.co.uk
infoshop.org
reclaimthestreets.org
cleansurface.org
bloodyfist.com
graffiti.org
billboardliberation.com
subvertise.org
renewal.org.au/artcrimes
crimethinc.com
punkplanet.com
bigissue.org.au
adbusters.org
appliedautonomy.com
systemcorrupt.com
spaceinvader.com
3CR.org.au [community
radio melbourne] 855AM
PBS [melbourne] 106.7 fm
RRR [melbourne] 102.7fm
SYN fm [melbourne] 90.7 fm
zzz [brisbane] 102.1 fm
2SER [sydney] 107.3 fm
Sticky [underground at flinder st station]
Polyester books [fitzroy]
wunderkeimer [carlton]
Barricade books [brunswick]
internationalist bookshop
[trades hall carlton]
irene/spacestation [brunswick]
Grande midnight star [sydney]
Octapod [newcastle]
spareparts [newcastle]
#23 How To: Get Ahead in Advertising
[crisis edition]
a. Simplify the message. During a
national or international \\situation\\,
people are not prepared to \\pump for
meaning\\ from a complicated ad.
b. Practice advertainment. When the
day’s news is troubling, advertising can
act as \\comfort food\\, warming the
heart and promising hope.
c. Make them laugh. Gentle jokes and
\\life’s pretty funny-sometimes\\ humour
are \\hot\\ in difficult times. Irony
and disparagement are \\not\\.
d. Look for the silver lining. Arms
dealers, security agencies, government
officers, and corporations suddenly
caught in \\hotspots\\ will need
marketing more than ever. Have a frank
discussion with your colleagues about
such issues as \\propaganda\\ and
\\profiteering\\.
e. Use the flag, but don’t abuse it.
Brands can be patriots. patriots can be
\\branded\\. But don’t try to make your
product a hero.
Piggy-Boy
In came a pig. 1 stick, 2 stick, 3 sticks, matchstick. Built a
house. A house outta matchsticks. Poor little piggy-boy didn t
see wolf comin. Didn t know wolf had been watchin. From
round the corner wolf came chargin, wolf-whistlin and char-
gin in his hotted—up Trana. Come out little piggy-boy, piggy,
piggy, piggy. I Know you re in there. Tried to smash piggy s
house in. Smash his face in. He smashed his face in.
Knocked him out cold.
Commentary
Written in free-verse. The lines are punctuated at the end of
sentences. They are short and punchy however they are
placed together like a short story which produces the affect of
fast-paced action. The poem is in one stanza It begins with a
play on the fairytale The Three Little Pigs but as it progresses
shifts to an urban location. The tone is dark. The details are
visual and sonic. They reproduce the fairytales own details,
then are twisted slightly to fit the change in location and end-
ing. Words throughout are colloquial such as Trana.
There is No Limits TO OUR LAWLESSNESS!
We are OUTLAWS. THE City is our FRONTIER!
Introducing: PANTHERS. [Part one] ** A
Question Posed By THE COMMITTEE - ARE YOU
DOWN?
We hate the past and have disdain for the
“Future”- our passion is now. ARE YOU DOWN?
We aren’t a band, we are VANDALISTS/ OUTLAWS/
UNDESIRABLES. ARE YOU DOWN? We stand for
destruction of art in all forms. ARE YOU
DOWN? We are WRECKLESS! FUCK THE LAW! ARE YOU
DOWN? We are HYPOCRITES/ PLAGIARISTS/ LIARS -
We are YOUTH! ARE YOU DOWN? Our Enemies: ART/
SQUARES/ PIGS - You. WE ARE PANTHERS! ARE YOU
DOWN?
\\The destructive character knows only one
watchword, make room; only one activity:
clearing away. His need for fresh air and
open space is stronger than any hatred.\\
- Walter Benjamin, “The Destructive
Character”, 1931
The pranskster undermines confidence and security in everyday belief systems, sabotages the official reality by moving objects, letters, words,
using chemicals, solvents, and adhesives to manipulate the media in such a way as to bring in to sharp relief the true agenda hidden between
the lines, the clenched fists of closed captioned commentary, provided by the being impaired. - Anonymous
break the corporate
Piggy-Boy
In came a pig. 1 stick, 2 stick, 3 sticks, matchstick. Built a
house. A house outta matchsticks. Poor little piggy-boy didn t
see wolf comin. Didn t know wolf had been watchin. From
round the corner wolf came chargin, wolf-whistlin and char-
gin in his hotted—up Trana. Come out little piggy-boy, piggy,
piggy, piggy. I Know you re in there. Tried to smash piggy s
house in. Smash his face in. He smashed his face in.
Knocked him out cold.
Commentary
Written in free-verse. The lines are punctuated at the end of
sentences. They are short and punchy however they are
placed together like a short story which produces the affect of
fast-paced action. The poem is in one stanza It begins with a
play on the fairytale The Three Little Pigs but as it progresses
shifts to an urban location. The tone is dark. The details are
visual and sonic. They reproduce the fairytales own details,
then are twisted slightly to fit the change in location and end-
ing. Words throughout are colloquial such as Trana.
There is No Limits TO OUR LAWLESSNESS!
We are OUTLAWS. THE City is our FRONTIER!
Introducing: PANTHERS. [Part one] ** A
Question Posed By THE COMMITTEE - ARE YOU
DOWN?
We hate the past and have disdain for the
“Future”- our passion is now. ARE YOU DOWN?
We aren’t a band, we are VANDALISTS/ OUTLAWS/
UNDESIRABLES. ARE YOU DOWN? We stand for
destruction of art in all forms. ARE YOU
DOWN? We are WRECKLESS! FUCK THE LAW! ARE YOU
DOWN? We are HYPOCRITES/ PLAGIARISTS/ LIARS -
We are YOUTH! ARE YOU DOWN? Our Enemies: ART/
SQUARES/ PIGS - You. WE ARE PANTHERS! ARE YOU
DOWN?
\\The destructive character knows only one
watchword, make room; only one activity:
clearing away. His need for fresh air and
open space is stronger than any hatred.\\
- Walter Benjamin, “The Destructive
Character”, 1931
The pranskster undermines confidence and security in everyday belief systems, sabotages the official reality by moving objects, letters, words,
using chemicals, solvents, and adhesives to manipulate the media in such a way as to bring in to sharp relief the true agenda hidden between
the lines, the clenched fists of closed captioned commentary, provided by the being impaired. - Anonymous
break the corporate
I wonder how many centuries of feeling are held in the grooves of the foot?
There once was a man who hadn t worn shoes for seven years.
He trekked over mountains, and treaded the rocky desert powder
with the familiarity of an old friend,
the paths of walking etched in his hardened skin.
I too must circumnavigate the earth.
I ll unbuckle my shoes and walk barefoot
down the narrow city laneways
past the stencils of political tricksters,
navigating the street-like labyrinths
where the concrete bumps and buckles
from the escaped roots of trees.
The hard cool bluestone under my soles
the weeping love grass tickling my toes.
Talus: the uppermost foot bone forming the ankle joint with the tibia and fibula.
Calcaneus: the largest foot bone, forming the heel.
Formally known as the calcaneum or os calcis.
Navicular, sesamoid and cuboid bones: the first a little ship navigating
the footpaths of the world,
the second a small seed stuck between toes,
the third a cube: origin unknown.
Phalanges: the bones of the toes, two for the great toe and three for the others.
They help connect the foot to the ground and the leg to the foot.
I must tread the earth carefully.
Walk barefoot.
It swerved unexpectantly with the gentle flutter of
brown and white wings and as the sun streamed
warm curtains the butterfly touched my skin,
whispering to me a thought of death. A strange
thought a somewhat disturbing thought. I walked on
unperturbed by the thought or at least I placed it with
the old love-letters and childhood memories at the
back of my mind. With an ease in my step and the
sun warm on my back, I opened the door.
He s dead, the boy is dead they said. Strange words
no, hello, how are you? just, he s dead . Was he in
love? I inquired. His love had expired and he d
become tired of the confusion and loss of resilience. I
know I will mirror his anguish periodically, be carried
away on a butterfly s wing. I stamp my feet.
Once there was a man who wouldn t speak. His mouth had been slammed shut on a cold win-
ter s night in the great storms of 97. His mouth slammed shut. Never to speak again. In fact
he d never even personally attempted to reopen it, not even to feel the hum of a lullaby tickle
his lips or to whisper a Chinese whisper. Never.
There had been many failed attempts at re-opening , by industrious old friends and well-
meaning neighbours but all to no avail. The man was happy in a self-punishing kinda way.
He d always possessed a love-hate relationship with words anyway. They could be cowardly
and they could be plotting. Sometimes they would sit on the tip of his tongue and not come
out even with vast amounts of coaxing. Other times they d jump out from dark corners and
frighten people with their audacity. No he was better off without them. Locked up in the attic
once and for all.
The only problem with capturing words and torturing them into complacency is that words are
very powerful and after a while the man realised that words, big and small, well-meaning and
cruel, were breeding viciously. They floated around his head like the ghosts of the undead;
haunting, neglected. The man could simply be paying his phone bill at the post office when the
tears would flow from his eyes, tender and soft, uncontrollable. But his bottom lip didn t so
much as quiver let alone tremble.
He took to writing. If he could transpose these wanderings onto the page maybe, just maybe,
the words in his head would disappear once and for all. And so began the tales of the man.
Page upon page of tenderness, and sorrow beyond comprehension. He wrote at daybreak and
continued till way after nightfall. But no matter how much he wrote the words kept on coming.
He wrote so much that the calluses on his hands were harder than rock and his arm cramped
in what little restless sleep he managed.
As the years went by the man realised that he lived to write. He had found his passion, or
rather, his passion had found him. He wanted to show what he d written to the world, but
would that just be pampering to the whim of the words? The words were his soul, his intellect,
his creativity, his mixed emotions. He could control them, place them where he liked on the
page, taunt them and play with them. He smiled. There was no need for the man to speak. He
had found his voice. It was there on the page staring back at him.
\\ Writings\\ Lou Smith
Foot Anatomy quoted from McMinn, RMH. Hutchings, RT. Logan, BM, A
Colour Atlas of Foot and Anke Anatomy . London: Wolfe Medical, 1982.
Free radio surfaced in
Czechoslovakia in 1931 when a
station operated by a mobile
transmitter called for a mass
mobilisation of workers to unite
against fascist leaders in Europe.
Czech authorities responded by searching
for the transmitter in homes of well-known
Communist party members but never found it
as it had disappeared. Pirate radio operates
at a grassroots level in questioning the
governmental and bureaucratic control over the
production of radio and the dissemination of
information over the airwaves. Most nations have
placed broadcasting in the hands of government
agencies, private corporations and bureaucracies instead
of allowing citizens and community groups to provide
programmes. This deliberate lack of public contribution in
radio programming has led to an illegal form of radio termed
radio piracy.
‘Pirate radio broadcast’s on FM, AM or shortwave bands to entire
cities or larger areas.’ Radio transmitters, unlike a printing
press, can be constructed relatively cheaply and be moved easily.
This technology is therefore relatively accessible to various
demographics such as young people and untrained radio
practitioners. Radio also has the added advantage of being able
to reach a large amount of people in a short amount of time. The
term ‘pirate radio’ came into existence because the first
unlicensed stations that broadcast popular music to the U.S.
were located in international waters. Likewise, 25 years later
in Europe, unlicensed ship-based stations appeared off the
European coast.
Broadcasting at an underground level, pirate radio allows
control to be placed into the hands of the subject not the
overriding regulatory power structures operating within
society. It is a medium that can provide political
information, disrupt mainstream ideas or purely provide
entertainment and information for the audience of
sub-cultural or cultural groups that are neglected by
the government-regulated mainstream. For the person
operating pirate radio, a certain sense of
empowerment would surely ensue through control over
technology and the ability to interfere with
mainstream ideals.
The accepted norms of what radio is, what it speaks
of, how it is presented and whose ‘voices’ have
control over it can and are being subverted. The
overexposure of particular ideologies and the
prevalence of predominantly white male voices, such
as those presented by radio personali-
ties in the forms of shock-jocks and
talk-back hosts, is undermined and
questioned. With pirate radio any
voice can be heard, in any
accent, as long as you can
obtain access to the
required technology and
the skills of opera-
tion. Pirate radio can
blur the line
between public and
private through
the use of unknown
and potentially
anonymous personali-
ties presenting a
diversity of information
and music.
Throughout history, advertis-
ing has funded many mainstream
radio programmes. Radio itself,
in its early stages "…symbolized
the bounties of industrial
capitalism with its endless
production of new and
existing commodities freely
available to all in the
marketplace.” Pirate
radio, on the other
hand, has the ability to
reject advertising of any
sort. ‘Pirate radio
operators are dedicated to
their music and listeners:
profit is not part of the
equation’. Pirate radio has not
been as prevalent in Australia
as it has in Europe or America.
Perhaps the range of non-
government controlled and anti-
advertising community radio stations
in Australia provide a platform for
poiltical debate and a forum for a
diversity of music a tastes and opinion.
‘Pirate recordings are the unauthorised
duplication of only the sounds of one or
more legitimate recordings.’(3) Sound piracy
subverts the idea of the ownership of music
by the music industry through the home-
production of CDs made up of sampled
electronic music. It is through sound piracy
that copyright laws have been brought to the
fore, and there have been many cases of
artists being sued for using recorded music
that is not their own. The music/noise group
Negativeland, for instance, have been sued
twice for copyright infringement for using
music by U2 in audio collage. Since the rise of
recording technologies, music has been
transformed into a fixed mass-marketable
consumer product by the music industry. As Hakim
Bey says, " Music is the victim, not the cause of
the "problem".
The invention of the CD and the CD burner has led
to greater accessibility for the individual to
plagiarise music. Following on from the mix tape
phenomenon, the individual is not only the consumer
of music but also the creator. Mix CD collages are
made and then swapped or given away, creating a
localised or even global network of mix CD
communities. In other words, everyone can be a
musician and have unlimited free access to new music
on CDs which are very expensive to buy in Australia.
The creation of the mix CD is a cheap way to make
music in that it can store large amounts of audio
information, particularly in the format of MP3s
downloaded off the net.
However, the self-produced CD could be seen as a
reflection of the mainstream since many people use this
technology to record compilation CDs of the Top 20, not
to create their own sampled collages? The popularisation
of relatively underground phenomenon occurs constantly
and consistently in advertising and in the marketing of
consumer products. Pirate radio has already been
popularised in the Hollywood film ‘Pump Up the Volume’
staring Hollywood actor Christian Slater. Just as
self-produced CDs appropriate snippets of recorded music,
it’s big business for advertising to appropriate
alternative cultures and ‘mainstream’ them; to promote
illegal activity as a ‘cool’ endeavour rather than a
political art form or an economic necessity.
“ The Droplift Project is an art-response to the current
relation of artists and lawmakers to the techniques of
appropriation, collage, and sampling in music." It is a
project whcih uses mostly uncleared samples. CDs are then
‘dropped’ onto the shelves of record stores for free. The
Droplift Project’s philosophy rejects the mass marketing of
music and the passivity of the popular music consumer, ‘ …I
reject your acceptable music. I reject your appropriation of
my culture for your profit orientated mass market. I reject
your exploitation of my life. I reject your hypocrisy. I reject
your authority and I no longer fear you. I will finally stand
up and actively fight back.’ The Droplift Project actualises the
autonomy of the individual who challenges the ownership of
sound.
Both pirate radio and sound piracy have changed how we think
about culture through the subversion of the control over airwaves
and through questioning what is sound and who has ownership over
it. Unlike government radio, pirate radio can play noise music
that contains popular music samples without the concern over
copyright. It is also not the pirate radio deejay’s position to
promote the sale of records to the public through high-rotation
playing. Sound piracy subverts popular music styles by often
sampling them into politicised lyrics. Subversion exists purely
in incorporating popular music into noise music, and here the
question of originality also comes into play. Self-producing
CDs without the aim of profit, extends this subversion.
Works Cited
* Soley,L,1999, Free Radio: Electromic Civil
Disobedience, Westview Press,Boulder Colorado
* Bey, Hakim, 1995, ‘The Utopian Blues’ in Sounding
Off! music as Subversion/Resistance/Revolution,
Autonomedia, Brooklyn
* Cutler, Chris. ‘Plunderphonics’ ibid
* Johnson,l, 1988, in The Unseen Voice: A Cultural
Study of Early Australian Radio, Routledge,
london.
* The Droplift Project: check out
www.droplift.org
* www,grayzone.com
Free radio surfaced in
Czechoslovakia in 1931 when a
station operated by a mobile
transmitter called for a mass
mobilisation of workers to unite
against fascist leaders in Europe.
Czech authorities responded by searching
for the transmitter in homes of well-known
Communist party members but never found it
as it had disappeared. Pirate radio operates
at a grassroots level in questioning the
governmental and bureaucratic control over the
production of radio and the dissemination of
information over the airwaves. Most nations have
placed broadcasting in the hands of government
agencies, private corporations and bureaucracies instead
of allowing citizens and community groups to provide
programmes. This deliberate lack of public contribution in
radio programming has led to an illegal form of radio termed
radio piracy.
‘Pirate radio broadcast’s on FM, AM or shortwave bands to entire
cities or larger areas.’ Radio transmitters, unlike a printing
press, can be constructed relatively cheaply and be moved easily.
This technology is therefore relatively accessible to various
demographics such as young people and untrained radio
practitioners. Radio also has the added advantage of being able
to reach a large amount of people in a short amount of time. The
term ‘pirate radio’ came into existence because the first
unlicensed stations that broadcast popular music to the U.S.
were located in international waters. Likewise, 25 years later
in Europe, unlicensed ship-based stations appeared off the
European coast.
Broadcasting at an underground level, pirate radio allows
control to be placed into the hands of the subject not the
overriding regulatory power structures operating within
society. It is a medium that can provide political
information, disrupt mainstream ideas or purely provide
entertainment and information for the audience of
sub-cultural or cultural groups that are neglected by
the government-regulated mainstream. For the person
operating pirate radio, a certain sense of
empowerment would surely ensue through control over
technology and the ability to interfere with
mainstream ideals.
The accepted norms of what radio is, what it speaks
of, how it is presented and whose ‘voices’ have
control over it can and are being subverted. The
overexposure of particular ideologies and the
prevalence of predominantly white male voices, such
as those presented by radio personali-
ties in the forms of shock-jocks and
talk-back hosts, is undermined and
questioned. With pirate radio any
voice can be heard, in any
accent, as long as you can
obtain access to the
required technology and
the skills of opera-
tion. Pirate radio can
blur the line
between public and
private through
the use of unknown
and potentially
anonymous personali-
ties presenting a
diversity of information
and music.
Throughout history, advertis-
ing has funded many mainstream
radio programmes. Radio itself,
in its early stages "…symbolized
the bounties of industrial
capitalism with its endless
production of new and
existing commodities freely
available to all in the
marketplace.” Pirate
radio, on the other
hand, has the ability to
reject advertising of any
sort. ‘Pirate radio
operators are dedicated to
their music and listeners:
profit is not part of the
equation’. Pirate radio has not
been as prevalent in Australia
as it has in Europe or America.
Perhaps the range of non-
government controlled and anti-
advertising community radio stations
in Australia provide a platform for
poiltical debate and a forum for a
diversity of music a tastes and opinion.
‘Pirate recordings are the unauthorised
duplication of only the sounds of one or
more legitimate recordings.’(3) Sound piracy
subverts the idea of the ownership of music
by the music industry through the home-
production of CDs made up of sampled
electronic music. It is through sound piracy
that copyright laws have been brought to the
fore, and there have been many cases of
artists being sued for using recorded music
that is not their own. The music/noise group
Negativeland, for instance, have been sued
twice for copyright infringement for using
music by U2 in audio collage. Since the rise of
recording technologies, music has been
transformed into a fixed mass-marketable
consumer product by the music industry. As Hakim
Bey says, " Music is the victim, not the cause of
the "problem".
The invention of the CD and the CD burner has led
to greater accessibility for the individual to
plagiarise music. Following on from the mix tape
phenomenon, the individual is not only the consumer
of music but also the creator. Mix CD collages are
made and then swapped or given away, creating a
localised or even global network of mix CD
communities. In other words, everyone can be a
musician and have unlimited free access to new music
on CDs which are very expensive to buy in Australia.
The creation of the mix CD is a cheap way to make
music in that it can store large amounts of audio
information, particularly in the format of MP3s
downloaded off the net.
However, the self-produced CD could be seen as a
reflection of the mainstream since many people use this
technology to record compilation CDs of the Top 20, not
to create their own sampled collages? The popularisation
of relatively underground phenomenon occurs constantly
and consistently in advertising and in the marketing of
consumer products. Pirate radio has already been
popularised in the Hollywood film ‘Pump Up the Volume’
staring Hollywood actor Christian Slater. Just as
self-produced CDs appropriate snippets of recorded music,
it’s big business for advertising to appropriate
alternative cultures and ‘mainstream’ them; to promote
illegal activity as a ‘cool’ endeavour rather than a
political art form or an economic necessity.
“ The Droplift Project is an art-response to the current
relation of artists and lawmakers to the techniques of
appropriation, collage, and sampling in music." It is a
project whcih uses mostly uncleared samples. CDs are then
‘dropped’ onto the shelves of record stores for free. The
Droplift Project’s philosophy rejects the mass marketing of
music and the passivity of the popular music consumer, ‘ …I
reject your acceptable music. I reject your appropriation of
my culture for your profit orientated mass market. I reject
your exploitation of my life. I reject your hypocrisy. I reject
your authority and I no longer fear you. I will finally stand
up and actively fight back.’ The Droplift Project actualises the
autonomy of the individual who challenges the ownership of
sound.
Both pirate radio and sound piracy have changed how we think
about culture through the subversion of the control over airwaves
and through questioning what is sound and who has ownership over
it. Unlike government radio, pirate radio can play noise music
that contains popular music samples without the concern over
copyright. It is also not the pirate radio deejay’s position to
promote the sale of records to the public through high-rotation
playing. Sound piracy subverts popular music styles by often
sampling them into politicised lyrics. Subversion exists purely
in incorporating popular music into noise music, and here the
question of originality also comes into play. Self-producing
CDs without the aim of profit, extends this subversion.
Works Cited
* Soley,L,1999, Free Radio: Electromic Civil
Disobedience, Westview Press,Boulder Colorado
* Bey, Hakim, 1995, ‘The Utopian Blues’ in Sounding
Off! music as Subversion/Resistance/Revolution,
Autonomedia, Brooklyn
* Cutler, Chris. ‘Plunderphonics’ ibid
* Johnson,l, 1988, in The Unseen Voice: A Cultural
Study of Early Australian Radio, Routledge,
london.
* The Droplift Project: check out
www.droplift.org
* www,grayzone.com
If elements of this material are of no
interest to you please pass them on to
others who may appreciate or participate.
Thank you.
speak softly. But carry a big can of paint.
C
\\ What is\ considered to be music itself is controversial and linked to large-scale
ideological formations invested in defining "music" apart from non-music. This
operation is\an effect of power, one that functions through discursive strategies that
construct "music" as an aspect of civilisation, while sound and noise are linked to
the uncivilised ..Through mechanical reproduction of the 20th century, sound has
also been controlled through its incitement. Repressing rhythm and noise has
become more selective, while its management has been enabled through the
wallpaper-like proliferation and commodification of music.\\
!@#$%^&*()_}{“?><
><>?<>?<>?<>?<>?<
;;;;;:::::;!@#$%^
&(*)(*)(*
//../>>>>>
>>
..?>>>>>>/..>>>
Strength, Elegance and Subversion.
shoutouts to the family, the civil group, lou[x], ned [much respect], jim, adam, shadey, sydney
crew, newcastle crew, melbourne crew, the clash, crease, gabba, Alan W. Evans, kernow,
spacekids, octapuses, 7u?[no frills], tai [cowlik], YOU, pauL, lach, esta, shane pinkboy, eve,
xyz, shok, irene, all the communal group/share houses out there, travellers not tourists, all the
social centers, Aussie independent media, urban bush revegetation crews, conference and
party organisers, zinesters, vj s, rock n rollers, graff/street artists, record spinners, pranksters,
friendly strangers, welcoming friends, storytellers, artists, machine fixers, cooks, teachers,
cultural theives, the elements, and people who dare to share.
Bicyclism is the political philosophy that recognises those who use or
depend on bicycles and bicycle technology for transport and living. It holds
that the revolution shall be low-speed, and bicyclists must lead the way.
The Bicyclist must be bold in hir maneuvers on the street. Clearly signal
your intentions and communicate with others. Cars are dumb beasts with a
very limited vocabulary, we must sheperd them properly.
Defer the right to those of the lowest speed. Ultimately Bicyclists must
uphold total respect for self, and by extention, all others encountered.
Cultivation of a low-speed consciousness is necessary for future bicycle
revolutions. Cities need to evolve toward a slower, closer, people-oriented
topology and pace. Bicyclists and foot-travellers are on the forefront of
creating that future. Without concerted focus on low-speed travel, our cities
will be lost to pollution, anti-human and increasingly militarized zones.
Institutions are too conflicted with monetary [development] issues to effect
the changes necessary. It is the role of bicyclists and pedestrians to
actualize the changes required to secure a livable future. We must identify
and mark low-speed corridors and pathways through the city corpus.
Bicyclists have the unique opportunitiy to envisage the framework of the
eco-city glowing beneath the concreate shell. We can make this framework
visible to others by: marking psycho-geographic landmarks and routes with
bicycle and pedestrian logos, frequent travel by human powered vehicles,
spontaneous sub-critical masses, bold bicycle signalling, friendly attitudes
towards menacing cars, and selective urban modification and marking.
Safe pathways facilitating autonomous transit are a necessary characteris-
tic of the bicyclist vision.
Importantly: recognise other low-speed beings with respect, unity, strength
and support when needed. Mutual consciousness, cooperative riding
tactics, and positive regard will encourage others to go low-speed and
prepare the way for increased communication and effective urban
solidarity.
Strength, Elegance and Subversion.
shoutouts to the family, the civil group, lou[x], ned [much respect], jim, adam, shadey, sydney
crew, newcastle crew, melbourne crew, the clash, crease, gabba, Alan W. Evans, kernow,
spacekids, octapuses, 7u?[no frills], tai [cowlik], YOU, pauL, lach, esta, shane pinkboy, eve,
xyz, shok, irene, all the communal group/share houses out there, travellers not tourists, all the
social centers, Aussie independent media, urban bush revegetation crews, conference and
party organisers, zinesters, vj s, rock n rollers, graff/street artists, record spinners, pranksters,
friendly strangers, welcoming friends, storytellers, artists, machine fixers, cooks, teachers,
cultural theives, the elements, and people who dare to share.
Bicyclism is the political philosophy that recognises those who use or
depend on bicycles and bicycle technology for transport and living. It holds
that the revolution shall be low-speed, and bicyclists must lead the way.
The Bicyclist must be bold in hir maneuvers on the street. Clearly signal
your intentions and communicate with others. Cars are dumb beasts with a
very limited vocabulary, we must sheperd them properly.
Defer the right to those of the lowest speed. Ultimately Bicyclists must
uphold total respect for self, and by extention, all others encountered.
Cultivation of a low-speed consciousness is necessary for future bicycle
revolutions. Cities need to evolve toward a slower, closer, people-oriented
topology and pace. Bicyclists and foot-travellers are on the forefront of
creating that future. Without concerted focus on low-speed travel, our cities
will be lost to pollution, anti-human and increasingly militarized zones.
Institutions are too conflicted with monetary [development] issues to effect
the changes necessary. It is the role of bicyclists and pedestrians to
actualize the changes required to secure a livable future. We must identify
and mark low-speed corridors and pathways through the city corpus.
Bicyclists have the unique opportunitiy to envisage the framework of the
eco-city glowing beneath the concreate shell. We can make this framework
visible to others by: marking psycho-geographic landmarks and routes with
bicycle and pedestrian logos, frequent travel by human powered vehicles,
spontaneous sub-critical masses, bold bicycle signalling, friendly attitudes
towards menacing cars, and selective urban modification and marking.
Safe pathways facilitating autonomous transit are a necessary characteris-
tic of the bicyclist vision.
Importantly: recognise other low-speed beings with respect, unity, strength
and support when needed. Mutual consciousness, cooperative riding
tactics, and positive regard will encourage others to go low-speed and
prepare the way for increased communication and effective urban
solidarity.
Manifesto for Subliminal Manipulation
"Just as we ourselves are made up of bil-
lions of biological entities (mostly bacteria),
it seems absurd to mistake our consciousness for
'ourselves', that is as separate individual enti-
ties. It is more plausible to conceive of the
human race as a single entity with many con-
sciousnesses that are unable to recognise each
other as parts of themselves. Of course it is
just as reasonable to extend this concept to
everything that exists as being of a single
entity that cannot be pulled apart and separated.
For the sake of convenience lets just call every-
thing 'god' but in doing so we must detach all
the baggage that comes with such a word (I would
rather not call it 'god' but any basic memeic
unit is loaded in some meaning or another - by
using the word 'god' I am following more the
meaning of that which is unspeakable/inconceiv-
able rather than a creator being). In this sense
a conversation between two humans could be
described as two points of 'god' having a con-
versation with each other not being conscious of
the fact that they are in fact the same thing.
The myth of separate individual beings is the
greatest tragedy of the human animal."
-Excerpt from "Blind manifestations of the mate-
rial mind"
By Rose Margahrita Magdalene
We are all asleep. This is a cliche, a banality.
We all know this yet it is never us that sleeps,
we would never admit this to ourselves. It is
always everyone else who sleeps. An asleep ani-
mal especially one that thinks it is awake is the
easiest to subliminally manipulate.
Rather than ask whether subliminal manipulation
is desirable or not it would be more realistic to
ask whether pure conscious communication is
indeed possible. Our minds delude us into the
belief that our consciousness is us and we are
our consciousness after all this is where we
experience the concept "I" or "me". However noth-
ing could be further from the 'truth'.
Consciousness performs but a small bodily func-
tion just as our kidneys filter our urine or our
bowels process our shit. Julian Jaynes sums it
up like this:
"Consciousness is a much smaller part of our men-
tal life than we are conscious of. How simple
that is to say; how difficult to appreciate! It
is like asking a flashlight in a dark room to
search around for something that does not have
any light shining on upon it. The flashlight,
since there is light in whatever direction it
turns would have to conclude that there is light
everywhere. And so consciousness can seem to per-
vade all mentality when actually it does not."
Our consciousness flickers like a flame until one
day it is extinguished and evaporates in a puff
of smoke. That is not to say that it disappears
into nothing. It becomes something else just as
the elements that construct our being are con-
tinually changing. Many of these cyclical changes
occur much faster than one would imagine. For
example, our pancreas replaces most of its cells
every twenty-four hours, our stomach lining every
three days; our white blood cells are renewed in
ten days and ninety-eight percent of the protein
in our brain is turned over in less than one
month. Even more amazingly, our skin replaces its
cells at the rate of 100,000 cells per minute. In
fact, most of the dust in our homes consists of
dead skin cells. Just as our physical body is
continuously changing so too is our mental life
being continually replenished. Although our con-
sciousness may disappear into dust perhaps it is
possible its memory is permanent. That however is
not the topic under discussion.
Mention the word subliminal and the most common
conception of it, is of some form of magic where
messages are somehow secretly implanted in our
brain. We do not understand the word 'subliminal'
because we are barely conscious beings. Our sub-
conscious are subconscious by the very fact that
they are not conscious. Do we need a conscious
mind to drive a car?, to ride a bike? NO! Do we
need a conscious mind to learn something new? NO!
Do we need a conscious mind to add 2+2? NO! Our
ego's would like to think so, our many ego's but
that is beside the point. When we add 2+2 the
solution emerges from our subconscious. It is
only in retrospect that the ego reconstructs the
illusion that it is master. Because of this the
mind creates many mistaken concepts such as; the-
ses and anti-theses or dialectical materialism.
These become cultural assumptions that have lit-
tle to do with how our brains actually work.
Consciousness is merely where we become aware of
ourselves, the analog "I". An awareness of our
identity. This identity is by and large false,
constructed in our minds by linear oral or writ-
ten language. Generally it is mindless chatter
in our heads that creates our identities. If it
is possible to experience our "actual self" then
it must be done on another level, free from lan-
guage and imagination, on a direct experiential
level.
An understanding of our analog "I" and our many
competing egos makes it possible to understand
how easy it is to subliminally manipulate. Make
no doubt about it everyday media is saturated
with subliminal data. It compliments us every
minute to get us on side whilst simultaneously
feeding our anxieties. All this makes it easier
to communicate a deeper ideology or intention. We
generally only see the surface layer, unable to
decipherthe many layers of mass advertising and
mass media. Again subliminal is the norm not the
exception as Wilson Key has said:
"Over a ten year period I was often involved with
various techniques of testing for large, inter-
national ad agencies. From time to time, I per-
formed consumer recall evaluations on ads,
usually to placate a client who had become ner-
vous about the effectiveness of a large promo-
tional expenditure. As far as I know, recall
analysis was never seriously applied in the
development of new, creative ad themes. Banality,
not memorable (consciously memorable) dramatic
content was the basic building block for sales-
effective advertising. The executives who
employed me often commented that any ad con-
sciously recalled was a loser, as far as sales
were concerned.
At the time, this logic puzzled me. Now, I
realise the purpose of an advertisement is to
motivate a purchase decision - days, weeks, or
even months after it has been perceived for even
an instant......The conscious memory system may
actually be incompatible with media's marketing
objectives."
Advertisers understand exactly what they are
doing. This is for certain. One percent of the
world's GDP is spent on advertising. That's a
hell of a lot of money. Billions! Advertising
works. The more we pretend it doesn't the more
effective it is. For this reason advertiser scan
spend a lot of time making the surface message
banal. The sub text is what you need to look out
for . Very often this is much more complex than
it seems. Advertisers persuade and manipulate by
what is not said more than by what is said. It is
worth looking at some advertising methods in
Vance Packard's book written in '57 as an exam-
ple of the extent that advertisers go too:
"...First, they decided, you can't assume that
people know what they want. A major ketchup maker
kept getting complaints about its bottle, so it
made a survey. Most of the people interviewed
said they would prefer another type the company
was considering. When the company went to the
expense of bringing out this other bottle in test
markets, it was overwhelmingly rejected in favour
of the old bottle, even by people who had
favoured it in interviews. In a survey of male
beer drinkers the men expressed a strong prefer-
ence for a 'nice dry beer'. When they were then
asked how a beer could be dry they were stumped.
Those who were able to offer any answers at all
revealed widely different notions.
Second, some marketeers concluded, you can't
assume people will tell you the truth about their
wants and dislikes even if they know them. What
you are more likely to get they decided, are
answers that will protect the informants in their
steadfast endeavour to appear to the world as
really sensible, intelligent, rational beings.
One management consulting firm has concluded that
accepting the word of a customer as to what he
wants is 'the least reliable index the manufac-
turer can have on what he ought to do to win cus-
tomers'."
Every moment of the day our body absorbs billions
of sensations, we observe a feast of sights, hear
a cacophony of delights, our taste buds continu-
ously tasting, and the smells always wafting up
our noses. Yet our consciousness grasps only the
most microscopic fraction of this astronomic
influx.
We aren't talking here of the Freudian or Jungian
symbolic subconscious. That too is smaller than
an atom compared to the totality of our uncon-
scious mechanisms.
The periphery of our vision is not black or dark
but rather disappears into nothingness, we sim-
ply are not conscious of it. Again to elaborate
on this a little think about the process used to
read. You are not conscious of the way you deci-
pher words out of individual letters or gather
meaning out of the strings of words that form
sentences. This is all done in fractions of sec-
onds but not in your conscious mind. Similarly
whilst reading this your consciousness focuses on
the images or meaning gathered from the words and
becomes oblivious to all else. All the while your
senses continue to take in your total environment
but not consciously. Smells, sounds, taste, the
sensation of gravity and feel of clothes on your
skin (if your not naked), etc., continue to be
taken in by your mind.
Our consciousness seems to be formed mostly by
verbal and written language. A layer of verbal
discourse flows continuously. Underneath a
visual discourse takes place. It is a mistake to
reinterpret this discourse in a verbal sense.
This discourse has its own meaning, certainly a
constructed meaning and not an actual meaning.
Under this there are more layers like actual bod-
ily sensations. We tend to absorb these sensa-
tions then interpret them verbally thus they
get reduced to a verbal explanation and their
direct meaning is lost.
Every day we are assaulted with a barrage of
information. It is blaring at us from all direc-
tions. Mass media, billboards, radio, televi-
sion. By the time the average child graduates
from high school they will have watched some 350,
000 television commercials. It simply is not
possible to process all this information on a
conscious level. Advertising hits us from all
angles. Most of it enters at the subconscious
level, waiting like a time bomb for the right
moment. The moment to consume. The moment to fill
our lives with pseudo needs to give us pseudo
comforts.
Visual information generally for most people
holds much more 'authority' over an individual
than the actual content contained in the words.
The less aware the individual is of this reality
the more likely it is true. A paper printed on a
dot matrix computer holds less 'authority' than
one printed on a laser printer. The more work
gone into the graphic presentation the more
'authoritive' the information is considered. A
good quality graphic presentation without
sources holds more 'authority' than a poorly pre-
sented paper with all it's sources included. This
is true precisely because the relevance of the
graphics is not considered consciously by most
individuals.
In relation to logos certain shapes and symbols
hold much more 'authority' over other shapes and
symbols. Exactly why this is no one really knows
but it has something to do with our collective
histories (and maybe universal habits). Circles
for instance hold much more 'authority' than most
shapes. Also our senses are interconnected so a
symbol can actually affect the way we smell taste
or feel an object (or organisation) it is relat-
ing to. This has been well tested in advertising
circles. A logo can have an enormous effect on
how some one perceives an organisation. This is
why Coca Cola's corporate vision statement is "To
create value for our shareowners on a long term
basis by building a business that enhances the
Coca Cola trade marks." The actual physical prod-
uct is irrelevant. The actual product they are
selling is the visual baggage contained sublimi-
nally in their advertising.
This is also why corporations pour such huge sums
of money into advertising. At the end of the day
the product is the advertisement more than the
actual physical product. The physical product has
subconscious values ascribed from the advertise-
ments, perhaps in a similar way we ascribe val-
ues to the physical manifestations of money.
The first stage in selling all products is con-
vincing the consumer that advertising doesn't
have any effect on sensible individuals.
Naturally vanity leads the consumer to consider
themselves as a sensible individual.
This is a call to be aware of the existence of the
enormous cavern of that which is not conscious.
It is a call to be aware of this when producing
propaganda and in all attempts at persuading oth-
ers of a better vision of how we could live on
this planet. Anyone who looks solidly at the
facts can see our situation is desperate. Anyone
who looks solidly at the facts can see we face
extinction. This is for certain, irrefutable. It
is time we realised this on an actual level and
not just an intellectual level. On the level of
bodily sensations. Maybe shed a few tears over it
if necessary. It is time to end our fantasies of
permanence.
It is time to cloud the distinction between work
and leisure, to see they are part of the same
continuous life. To gradually increase the par-
ticipation in our own lives until passive enter-
tainment becomes passe, becomes boredom as we
already know it is.
This is a call to cause external confusion in
order to take refuge in inner wisdom. To release
upon the world a new level of discord. To speak
not just on the surface level but to know and
understand all other levels of communication. We
are not rational beings. The more we pretend to
be the less we are in actuality.
This is a call to blur the line between fact and
fiction . Paradoxically there are many truths in
fiction. Certainly there are many lies in facts.
This is a call to ASSUME YOUR OWN AUTHORITY. That
is for sure. Do not trust even trust the author-
ity of this writing. ASSUME YOUR OWN AUTHORITY
but don't count on it's substance. There have
been too many mistakes by many whom believed
themselves right. The mind plays too many tricks,
deluding itself in its righteousness. This is
about as much as I can ascertain.
Monty Cantsin
Chief Advertising Executive
The Blind Authority Manipulation Corporation