Saturday, December 31, 2016

Film

video

Early evening, final day of 2016, Kreuzberg with fireworks and much bitterness.

Thursday, December 29, 2016

Our Death 24 / The Torture


They draw a red line across the neck. It is a map, of sorts. The beginnings of a map. The marks there, they are apartment blocks. But they are also alphabets. No, not alphabets, magnetic clouds. In each of those clouds there is a vowel, and those vowels are in the hands of the enemy. You are inside one of the apartment blocks. There are two of you in the room, but you are only aware of a third. It is the third that speaks to you now. The questions it asks are ridiculous. Are there ghosts on wasted planets. There are no planets. No vowels. Just a wet crack when they remove the head.

Here are three chords, three marks on the calendar: Occupy, whenever that was, Seattle 1999, and whatever it was happened in London in June 2005. They may be separated electric strings, or optional planets, or the thoughts of liberals, or basilica, or chromatic meat. Who cares what they are, play them loud. Think like a gun as much as you like, but whatever you do, don’t form a band.

Sunday, December 11, 2016

Our Death 23 / "We Are The Dead"


This is a different landscape. There is a desire to kill here. And this desire ties us together as sinister brothers of the sinister failure of an entire social system. - Pier Paolo Pasolini, November 1st, 1975.

“Defeat is among us, and war, and prophecy.” That’s a line from Muriel Rukeyser. I was thinking about it a couple of days ago, asking myself whether the words followed a sequence, or whether they could only be taken simultaneously. That is, were they like marks on a calendar, or were they a kind of cacophony, a form of sky, an enormous black sky at that, in which we are all basically like haloes or pinpoints or stars, and so to be destroyed. There are no simple answers to questions like that. To try and find one I walked up to Sebastianstra├če, and I roamed up and down for around three hours, screaming Rukeyser’s line over and again until my voice began to fall apart. Luckily, there was no-one around, because in the third hour things began to go wrong. Rukeyser’s words had started to become weird shreds of impossible meaning that once spoken could never be repeated because once they had been spoken all else would disappear. The sky was a hoax. The stars were border guards. Etc. I held my hand in front of my face and could see nothing but a bland white light, like a murderer’s mirror, a vicious and impassible glass. Not glass, a gaze. Not a gaze, a glare. Not light, but “Prophecy”, a word that for the past few months I’ve only been able to associate with surveillance, with cameras and with judges. Why? Well, if you have to ask, etc. Put simply, “prophecy” implies a prediction of the future via excessive and possibly aberrant interpretation of all available elements of what we like to call the present. And who are the current powers that survey and interpret the present to such an aberrant and excessive extent? It isn’t poets, and it isn’t mystics either. Anyway, whatever. I kept screaming, past all voice, all body, all of my borders. By borders, of course, I mean senses. And I thought at this point of Marx, about what he said about the five senses, imaginary or otherwise. You know the passage I mean, I’m sure. And the cut that it implies in the sensory calendar. Because these days I very much doubt that I can say with any certainty that I have five senses. Certainly, as I screamed out Rukeyser’s line it seemed I had only three. That’s right, surveillance, cameras and judges. Actually that’s not three senses, that’s just one. One enormous black sky, one enormous pit of cancelled language, one enormous voice rasping out one final, incomprehensible sentence. And it was mid-day. It was very dark. There were no stars. I think the buildings were burning. There were a few of us there, standing outside them, inventing language. We were wondering if that bastard the sun was ever going to return, and what it was planning on doing when it got here. We were talking about prophecy, about defeat and war, about how nobody knows what those words really mean, and what they will come to mean.

Saturday, December 03, 2016

Film

video

A sub-zero evening in Kreuzberg. Quiet, slightly agitated, refusing to be fearful.

Friday, December 02, 2016

Our Death 22 / Georg Trakl's Psalm




as I imagine it spoken by the ghost of Anita Berber 

It is a light gone out forever.
It is a bar that’s never opened never closed.
It is a vineyard it is a black hole it is a mouth full of spiders.
It is an abandoned room, sprayed with burning milk.
The maniacs have died. It is an undiscovered island
It is the sun as it is in nightmares. They are smashing the drums
They are inventing war.
Here they are wriggling their hips here they are buying smack
Oh the screaming ocean. Paradise is catastrophe.

It is all porn especially the fairytale forests.
Here they are they have buried the refugees. Oh my its raining again.
Nasty old gods are digging the ditches
They are all asleep in the boring city squares and bombs are falling.
It is chemical rain it is little girls it is poverty and celebrity and crocodile tears.
It is rooms filled with impossible chords it is your tedious record collection.
It is shadows it is Air BnB it is mythological mirrors.
Here are the inmates they have burnt the hospital down.
Here is your favourite dealer, here are the latest plagues.

An invisible person has appeared in everyone’s simultaneous dream.
Oh look here I am. Fuck the police.
It is the surveillance laws. All ages are not contemporaneous.
We are outside this century. We are very glamorous. We are waiting in the hall.
Somewhere near Moritzplatz the adepts are getting sick.
It is the stupidity of gardens. I love the tiny sparrows.
The janitor’s kids are not playing they are digging up gold.
It is the last song you will ever hear. It is horrible blind children waiting in the alley
Their shadows are climbing the wall, it is poisons and fascists and fairytale roses.

It is a tourist boat on the Landwehrkanal.
It is the building where I live, it is valium and speed.
Here are the dead refugees, piled up inside the walls.
It is our smug little rooms it is our wings stained with shit.
It is the western border it is what you want it to be it is England controlled by maggots.
Here I am, in love with this city. It is peaceful like my childhood dreams.
Here we are choking our memories to death.
What if this year never ends.
Here are the experts being fed to the dogs.

In America a very boring lunatic opens his eyes.