.:Tractatus Neologico - Pharcicalus:.
presslabel:

The war rug tradition of Afghanistan has its origins in the decade of Soviet occupation of Afghanistan from 1979, and has continued through subsequent military, political and social conflicts. Afghan rug-makers began incorporating the apparatus of war into their designs almost immediately after the Soviet Union invaded their country. They continue to do so today in the wake of the United States’ 2001invasion of Afghanistan which ousted the Taliban government of Mullah Omar but has failed to bring an end to violence in the country. The rugs produced in response to these events are among the world’s richest traditions of war art of the late 20th and early 21st centuries.
The terms Baluch and war rug are generalisations given to the genre by rug dealers, commercial galleries, collectors, critics and commentators. The distinctive characteristic of these rugs is their capacity to convey their makers’ experiences and interpretations of the circumstances and politics of war and conflict in the region.
Little is known about the circumstances of war rugs’ production and distribution, or their makers’ intentions.

presslabel:

The war rug tradition of Afghanistan has its origins in the decade of Soviet occupation of Afghanistan from 1979, and has continued through subsequent military, political and social conflicts. Afghan rug-makers began incorporating the apparatus of war into their designs almost immediately after the Soviet Union invaded their country. They continue to do so today in the wake of the United States’ 2001invasion of Afghanistan which ousted the Taliban government of Mullah Omar but has failed to bring an end to violence in the country. The rugs produced in response to these events are among the world’s richest traditions of war art of the late 20th and early 21st centuries.

The terms Baluch and war rug are generalisations given to the genre by rug dealers, commercial galleries, collectors, critics and commentators. The distinctive characteristic of these rugs is their capacity to convey their makers’ experiences and interpretations of the circumstances and politics of war and conflict in the region.

Little is known about the circumstances of war rugs’ production and distribution, or their makers’ intentions.

architectureofsilence:

Like the surrealists, the lettrists were thoroughly impressed by Cheval’s Palais Idéal. That the Palais had been produced by a postman as a continual, playful, expressive outpouring only added to the attractions of the building’s fantastic appearance. Moreover, it mixed its sources and references with utter indifference to precedent. It was, in Potlatch’s opinion, “the first manifestation of an architecture of disorientation” in the way in which it “‘détournes’ the forms of diverse exotic monuments, and of a stone vegetation.”
-Simon Sadler, The Situationist City

architectureofsilence:

Like the surrealists, the lettrists were thoroughly impressed by Cheval’s Palais Idéal. That the Palais had been produced by a postman as a continual, playful, expressive outpouring only added to the attractions of the building’s fantastic appearance. Moreover, it mixed its sources and references with utter indifference to precedent. It was, in Potlatch’s opinion, “the first manifestation of an architecture of disorientation” in the way in which it “‘détournes’ the forms of diverse exotic monuments, and of a stone vegetation.”

-Simon Sadler, The Situationist City


Aum Shinrikyo was the Japanese apocalyptic cult responsible for the 1995 sarin attack on Tokyo subway system that resulted in 13 deaths and over 5,000 hospitalizations.

“It appears that most or all of these men had been science fiction enthusiasts in their youth and continued this interest as adults. The group was consumed with the idea that spiritual experiences could be verified, explained, tested and proved scientifically. Projects included creating an astral teleporter (an electronic device to clean one’s “astral dimension”) and the “Perfect Salvation Initiation” headgear (designed to transmit Asahara’s brainwaves to his disciples and replace their own impure brain waves). The group’s interest in science also applied to the violent aspects of the cult. They talked about futuristic technologies of destruction, such as plasma weapons that could atomize human bodies, mirrors several miles across that would float in space reflecting the sun’s rays so that they destroyed all life in the process, vast laser guns and other imagined means of destruction. It was presumed that many such weapons had been developed by the United States.

Asahara shared his scientists’ fascination with pop science. Although blind, he would turn on television animation shows and have someone describe the scenes. Many of his prophecies and sermons were taken from these shows. A plan for an underwater city after World War III came from Future Boy Conan. Light Beam Satellite Cannon was taken from Mobile Suit Gundam, and Cosmo Cleaner from Starblazers. His talk of Freemasons was taken from the magazine Mu. One person testified, “Since we all knew the sources, we thought Asahara’s ideas to be foolish.”

It appears that here did not appear to be a strategy for the choice or use of weapons of mass destruction, but simply a fascination with these tools and an attempt to bring them into reality. The interaction between Asahara and his scientists has been compared to kids playing in a school yard, excited by the prospect of building and using new technology for its own sake. Leaders often got bored with one “toy” if there were any difficulty involved and went on to the next one with passion.”

From Aum Shinrikyo: Insights Into How Terrorists Develop Biological and Chemical Weapons

"I still take the existence of peaches on hearsay."

Oh, Hegel. You ham. Surely you were joking.

Oh, Hegel. You ham. Surely you were joking.

uutpoetry:

The Ridiculous Sublime
In the land of Slavoj Žižek, waterly sandmen march across trapezoidal rumpelstiltskins slouching into their orphan knees paddling hunchback-flesh in murky rivulets clapping at the sound of ampersands.
In the land of Slavoj Žižek, geraniums come out fast and furious like the crumpled paper caves of lost actions stringing up large birds of prey severing the collars of dogs feeding on craze.
In the land of Slavoj Žižek, jumbled cantaloupes half off the ledge rave about jackets and the jacks dazzling almost empty against the aim of frowning counter-diretional moon-wind.
In the land of Slavoj Žižek, the proported purposes of real reality sing from academic ghettoes  and fetishize the hoary hands of Hegel malnourished on the far side of pyramids.
In the land of Slavoj Žižek, loud listeners chink their smartphones like axes grinding at spools of cherubic sandpaper rasping flounder pillows and contaminating the incinerators of metastasis.
In the land of Slavoj Žižek, pools of anal blood catalyze in the Capital slipping beyond frailty, beyond jiggermast into the untraceable depths of quinic acid while cacti plead with piacular jowls.

uutpoetry:

The Ridiculous Sublime

In the land of Slavoj Žižek,
waterly sandmen march across trapezoidal rumpelstiltskins
slouching into their orphan knees
paddling hunchback-flesh in murky rivulets
clapping at the sound of ampersands.

In the land of Slavoj Žižek,
geraniums come out fast and furious
like the crumpled paper caves of lost actions
stringing up large birds of prey
severing the collars of dogs feeding on craze.

In the land of Slavoj Žižek,
jumbled cantaloupes half off the ledge
rave about jackets and the jacks
dazzling almost empty against the aim
of frowning counter-diretional moon-wind.

In the land of Slavoj Žižek,
the proported purposes of real reality
sing from academic ghettoes
and fetishize the hoary hands of Hegel
malnourished on the far side of pyramids.

In the land of Slavoj Žižek,
loud listeners chink their smartphones
like axes grinding at spools of cherubic sandpaper
rasping flounder pillows
and contaminating the incinerators of metastasis.

In the land of Slavoj Žižek,
pools of anal blood catalyze in the Capital
slipping beyond frailty, beyond jiggermast
into the untraceable depths of quinic acid
while cacti plead with piacular jowls.

Apollo, the God of Cheese Crotch and White Vinyl Cowboy Boots, has since moved on to another (unidentified) host.

Apollo, the God of Cheese Crotch and White Vinyl Cowboy Boots, has since moved on to another (unidentified) host.

Of Servitude in Smell

Of Man’s first misfarteance, and the toot
Of that unbidden me whose mortal waste
Brought methane to the world, and all our woe,
With pants o reakin’, till one greater Man
Restore us, and regain the blissful Seat.

I won’t be satisfied until I am excommunicated for heresy on charges of undermining the sanctity of the English language.