Archiv für März 2010

Global war against think tank conspiracies,..means Orthography!

so what

The ‚Still Dangerous-Crew‘ assembled many good meeting points by such Vinyl sessions and live choosen urbal-ism to reject ‚critical whiteness‘ with such left-fascist mis-interpretations of such foolish imploi the Muslim and neither Islamofascist by thier interpretations. So we‘re looking forward with some members of the ‚Onkel Otto-Crew‘ to new spaces nearby and alludance of the normality Britcore/Heartcore-Hip Hop beneath the neighborhood…(DJ/MC Gato with raping ‚espagnol antifascist lyrics)

Just as Baudelaire invented an image of originality in, and out of, the world of infinite copies, we‘ve to produce original works using the means of multiple copies. The milieu of the mass market, demanding multiple copies, changes the role of artisanal crafts. When Walter Benjamin wrote that Baudelaire „stood in uninterrupted contact with the market“ by using defamation and counterfeiting as strategies, he opened the door to studying markets and economies as grist for poetic experiments. Baudelaire was „perhaps the first to conceive of an originality appropriate to the market, which was at the time just for that reason more original than any other: to invent a cliché, trivial piece of work“(Benjamin Central Park 37). Rather than simply eliminating the artisan’s craft, the mass market may paradoxically create a new context for individual expression — except now the market itself becomes the sociopoetic canvas. When left-militant aesthetic and poetic decisions embodied in artworks lead to a heightened or changed social situation, then one needs to describe these forms as sociopoetic rather than as artworks within particular social contexts. The social situation is part of a sociopoetic experiment.

The term sociopoetic describes artworks that use social situations or social networks as a canvas; intimate bureaucracies being a type of sociopoetic work. The term sociopoetic does not define our ‚Still Dangerous‘ methodology. Instead, the term describes the works studied here. Using a meanwhile category of the receivable, our theoretical approach studies how situations function poetically (or sociopoetically). Although I do present contextual information (the history, the participants, the politics, and the like) as entangled in the work, our focus remains on how artists and poets manipulate and score situations. Neither Hamburgs World War 2 Cultural Studies, that examines how contexts determine aesthetic production, nor semiotics, that studies the structures of texts, enables one to focus on a third possibility: social situations that function as part of an artwork or poem (that is, sociopoetic works).

As is well known, the ‚Still Dangerous-Crew, starting in the mid-1980s, has drawn carefully crafted versions of currencies including the United States dollar bill by sterling aviation and Islamofascist propagandhi. We had drawn similar bills as early bye, but did not begin to use them as exchangeable currency until 1984. Our work has drawn the negative attention of governments investigating counterfeiting including cases against us in Hamburgs Hafenstrasse-St.Pauli, Great Britain’s London coroner, and the United States insurance plot. The controversy surrounding our work has focused on the similitude of his meticulous drawings to the official bills, and critics have discussed our work as a provocation to reconsider the value of art and the value of money.