Jack Donovan: No Man’s Land

06 November 2011 » books, sex, trevorblake

Jack Donovan:

The following three-chapter arc was originally intended to be part of a book project called The Way of Men. The Way of Men is not about feminism, but most popular writing about masculinity is written by feminists, or men who have accepted a handful of feminist assumptions. My intent here was to locate my own understanding of masculinity within the context of a larger discussion about men that has been happening for the past several decades. I wanted to engage the arguments of others in a comprehensive way and extract common themes. I wanted to “show my work.”

Together, these chapters form a short book about the way that masculinity has been maligned, re-imagined and mis-represented by others.

I have decided to make this book No Man’s Land available for free online, because I hope that this material will be useful to other men who are writing about masculinity, feminism, the men’s movement and conflicts between masculinity and civilization. While I have a stack of books on masculinity that come from the establishment — from university presses and from writers approved by the mainstream media — the most interesting writing about masculinity is happening online. You can cite a book, but you can’t quite link to it — not exactly, anyway.

For those inclined to read No Man’s Land as a book, I have made it available in Kindle format, and as a downloadable .pdf file, but it will also remain online as a series of pages on my web site.

I would like to thank my Vulcan friend Trevor Blake for his help editing these chapters.

One last thing

I’m not a tenured academic. I drive a truck for a living. Sorting through this material takes a lot of work. If you find this valuable and want to support my work — toss me a few bucks for beer, guns and books. There’s a “donate” button on my web site.

Jack Donovan: No Man’s Land.

Peter Lamborn Wilson – Back to 1911 Movement Manifesto: Telephone

04 November 2011 » anarchism, fascism, fight, games, luddite, music, ovo, sex

Those who long to live in 1911 choose that year – really any year from 1890 to 1914 would be equally ok – just because it’s safely in the middle of that long lingering last “decade” of the long 19th Century – which was also the first heroic decade of true modern radicalism – e.g. – the Wandervogel, Stirnerite anarchism, the IWW and Jim Larkin, Ascona, Sex Radicals & Nudists – etc.  And still far removed from the future of total war & totalitarianism to come – a time of utopian revolutionary hope.

Also of course it’s the Age of Decadence – final year of the Manchu Dynasty – opium ten cents a bottle at any country store – the Paris of J. K. Huysmans.  Gaslight.  Also: the last gasp of true agrarianism in the USA – age of Populism, the Grange, Farmers Alliance – the last rural decade.

But there’s another reason we choose 1911 (or thereabouts) for our little Golden Age. It has to do with technology. In 1911 almost all the actual conveniences of modern tech already existed: the car, the telephone, the electric bulb, the phonograph… Now we Luddites do not approve of cars or any of these inventions, which all subtract from the quanta of Imagination available to individuals & to the Social. But we have to admit – they’re convenient. In their primitive forms they’re almost likable. The only real convenience invented since then – the electric refrigerator – can be replaced by an Amish-built propane refrigerator – OR – we could re-invent the ice-box. We hope someday to learn to sing again, but till then we can accept a few hand-cranked shellac records (but no radio or TV). Computers are NOT in any way part of a revived 1911 however. It’s time to wake up & smell the rot of technopathology.

The telephone easily corrodes social presence & reduces selves to disembodies “voices of the Unseen,” as the Arabs called the invention. But again the primitive version, with its “party lines” & snoopy local Operators, had a social aspect now completely leached out of the medium. If we must be thus haunted let it be via one of these elegant sinister objects – a real murder weapon.

Full play of Imagination becomes possible only without modern technology, because tech has become the heartless operation of Capital, which hates all forms of sharing. Let’s work for a secular Anabaptism, bold enough finally to refuse everything back to the steam engine – at least. Whereupon we may resume human life.

Peter Lamborn Wilson – Back to 1911 Movement Manifesto: Photography

04 November 2011 » architecture, art, christianity, commerce, islam, judaism, luddite, magick, ovo, sex

Everything has already been said about photography. We have it here in 1911 but even now we can see how it may have been a big mistake.

The Byzantine Iconoclasts were no mere smashers of idols – their arguments ran deep, subtle & profound. They claimed that the Image colonizes the Imagination – other people’s magic overcomes your own personal magic & imprints itself on your soul. Only the Imagination free of such (mis)representation can truly be called autonomous & capable of poiesis, the creative act. To depict the sacred (& all things are potentially sacred) is to degrade it & thus to blaspheme. Only the Eye of the Heart can actually see.

Many Sufis would agree with these sentiments, as would many Jewish & Protestant mystics. The more accurate & scientific the representation the more it lies & blasphemes. “Abstract” art is more moral than any form of realism. Music & architecture, which are simply themselves (ideally), are considered permissible, although Islam suspects even music of threatening the soul’s integrity. But painting & sculpture & especially photography must surely be damned. Looking itself is a compromised or even guilty pleasure, lacking the intimacy of touch or smell or even hearing – too akin to “pure reason” – to cruel.

Against these arguments however we might assert the possibility of Hermetic Imagery – which (as Giordano Bruno or Athanasius Kircher would say) can allow us to free ourselves from the Image through the Image.

Certain symbols, Emblems, hieroglyphs or works of art can liberate the Imagination rather than “enchain” it. These images stimulate your own creativity rather than stifle or suffocate it under their beauty or shock-value or subliminal potency etc.

In the Renaissance this theory of art was called “Egyptian,” thanks to a fortuitous misunderstanding of the ancient hieroglyphs (ie that they were “magic”). Cagliostro was pushing the same notion in the late 19th Century. I believe we need such a theory in order to redeem our various arts – to save them from merely forming new chains, like advertising or propaganda.

Does this argument rescue photography from its own special hell? Maybe not. But maybe there’s something to be said for a touch of damnation. Maybe photography is a vice, like pornography, but then perhaps it could be a magical vice.

If we must have photography in 1911 let it be slow, clumsy, alchemical, rare – somehow still innocent of theory – not so much a spectral doubling but rather Magic Lanterns, a kind of stained glass, primitive & luminous, posed & formal, static, sepia-toned, nostalgic & slightly comical.

Peter Lamborn Wilson – Back to 1911 Movement Manifesto: Energy

04 November 2011 » books, catastrophism, food, hindu, luddite, magick, overpopulation, ovo, prohibition, religion

ACME, you remember, was the company that made all those safes for Coyote to drop on the Roadrunner. If only it were that simple.

Everyone simply can’t go “back to 1911″ – there wouldn’t be enough energy there to support our wasteful habits. The last viable population density must’ve occurred, in fact, around 1911. After that – the crowd. The utopian reversionism I’m proposing, I guess, is only possible for a self-chosen elite.

Petroleum was a rare commodity in 1911 – like whale oil today. Stoves burned wood – a renewable resource. Plant an acorn, reap a cord of fixed sunlight. I’m not saying everyone should to it now. I’m saying that we – carefree luddites – will burned wood in our ornate victorian stoves, while everyone else poisons themselves with petrol & electricity.

The alchemists tell us that not all forms of heat are simply the same calories delivered by different tech. The heat of a brooding hen, heat of a manure pile, heat of a woodstove – & the heat of a nuclear reactor disaster – are qualitatively different, not just quantitatively.

Woodfire has been used since the cave people discovered fire. It comes from heaven (as lightning) – it warms the Zoroastrian temple in Persia, the Vedic sacrifice in India, the Celtic bonfire on May Day, the outdoor barbecue invented by buccaneers on Hispaniola. Woodfire is basic everyday magic. It transforms food alchemically. It alchemizes the domestic hearth. It engenders visions. It is the body of the djinn.

Frankly we no longer care very deeply about the end of the world. It’s too late for “everyone” to go on gulping down oil & shitting out pollution. The only solution to the energy crisis is voluntary poverty, as Ivan Illich used to say – so the secret is to learn to enjoy it.

Frenchfry oil, wind power, solar panels, nuclear power plants – none of them will allow the whole world to go on sucking up oil & other forms of dead energy like us Americans in 2011 – like it’s “going out of style” (which it is) – so let’s just do without it, & revert to 1911, comrades. Abandon the suckers to their doomsday scenarios (Rapture, Global Warming, Peak Oil, band, whimper), & stoke up your ACME woodstove with aromatic pine, & sit around it all winter with the complete works of Balzac, Scott, Dumas, Stevenson, Proust. Roast some apples. Simmer your poppy-head tea. Dream on.

Peter Lamborn Wilson – Back to 1911 Movement Manifesto: On (Type) Writing

04 November 2011 » anarchism, art, books, buddhism, fascism, futurism, luddite, magick, ovo, prohibition, spoken

The years between the death of Nietzche (& Queen Victoria) & 1914 constitute a dawn of Modernism that never happened into day. Instead it was smashed to nihil by the one long war (1914 – 1989) of the ghastly XXth Century. The liberté libre of trends like Symbolism, Expressionism, anarchism / socialism, lebensreform, Cosmicism etc. turned into the cynicism of dada, the fascism of Futurism & so on. Hope seemed dead.

L. Broadmoor III (who circa 1975 first turned me on to the idea of “living in 1911″) wanted to be an ordinary person in rural America (but with decayed millionaires as neighbors, hence his choice of Dutchess Co.) – he read only books published in or before 1911 that were truly popular at the time, such as novels with happy endings by long-forgotten lady novelists. In the 1970s you could buy old books like that for 25¢ a pound, yellowing & crumbling. Many by now must’ve disappeared completely.

I understand this “taste” or rather discipline as that of the spiritual dandy: an impenetrable cool of exotic ordinariness & secret impeccability. In effect one’s life becomes one’s art – completely. I could never aspire to such bodhisattvahood: fundamentally I’m simply not that serious. In fact neither was Broadmoor: he gave up 1911 & went into Reichean therapy. But still I take 1911 as a kind of metaphor or ideal double for my art, & to a certain extent my life as well. I’ve lived for 20 years now with no TV or other people’s cars – I pay people to use the internet for me (to buy books!) – & so on. I just don’t want to own the fucking things. I admire the Anabaptists for refusing electricity & infernal combustion in their homes. But you need communitas to live in that manner. You need place.

Even reading & writing is contaminated with Civilization’s technopathologies. Oral / aural culture would constitute the Luddite ideal. But as an isolated individual & lifelong print addict I can’t give up books – that necessary poison – like certain drugs… “Life in 1911″ requires books just as it might ideally include cheap & legal laudanum or tincture of Indian hemp.

Charles Fourier praised the Pigeon Post. It seemed quite modern in 1830, “utterly modern” as Rimbaud would say. In 1911 we’re allowed telegraph & even telephone, but our hearts still go into writing & receiving letters – handwritten, private, mysteriously brought to yr very door by unseen hand for only pennies per message, the money having been transformed into beautiful stamps. None of these pleasures are afforded by electromagnetic CommTech, which eliminates everything (including privacy) except text & image.

Imagine perfumed letters sealed with red wax & heraldic imagery, letters like Prince Genji used to write, or Proust, who could send little blue notes by pneumatic post anywhere in Paris. Think of mail-order degrees in Rosicrucianism. Yes, the POST – under the sign of Hermes – is sheer magic.

If only I could find a working mimeograph machine (or even better a roneograph, the kind that printed only in purple) (they had one in my high school in the 1950s) I’d certainly publish these manifestos on it. At least I can still use a manual typewriter, another surrealist-looking machine we enjoy here in “1911.”

June 14 2011

Peter Lamborn Wilson – Back to 1911 Movement Manifesto: Music

04 November 2011 » luddite, magick, music, ovo, situationist, surrealism

Recorded music realizes a dream of pure magic – but at the same time the end & even death of music itself. A Blakean paradox or mystical dialectic: every phenomenon had a “good” & a “bad” (in some rough sense), an Emanation & a Spectre. When I worked in radio (on WBIA-FM, The Moorish Orthodox Radio Crusade) & played rembetica, Ottoman marching bands, Irish music composed by supernatural beings (the Tuatha De Danaan, aka the faeries), Anglican church music from the 15-20th Century, etc., I & my listeners (I hope) experienced the first Emanational aspect of recording – its magic.

But as the MUZAK company understood, recorded music eventually loses its presence – and in its state of absence or deprivation it becomes a potent subliminal form of anxiety, often alleviated by a shopping spree or food binge – perfect capitalist behavior.

Thus music becomes background – in expensive restaurants one is expected to listen (but not pay attention) to music appropriate to a honkytonk whorehouse: rock’n'roll, which should be a highly presentational dionysiac experience – becomes aural vanilla for jaded yuppies. Youth buys its latest “rebellion” from the world of commercial greed & adult condescension called the Music Industry. With headphones & computers everyone composes a soundtrack for their own stupid boring movie, their life as “student” or wage slave & consumer – music as anodyne for the constant immiseration (as the Sits used to say) of Too-Late Kapitalismo.

Finally – recording replaces our own voices with dumbness. We let stars sing for us – we let machines come between us & the divine musician within us. Music attains Spectral status. It haunts us with its own non-presence reduced to residual noise pollution.

I had to give up radio (both as producer & consumer) & get rid of all recorded music in my sphere of influence (basically my house) in order to preserve my relation to music. I don’t dare sing in the street (as everyone did until about 1979) and there is no amateur communal music anymore (recording killed it) – no “music bees” so to speak. Music now lacks all sociality except the ersatz of mass consumption to hear live music sometimes. Usually now when I hear any decent live music I burst into tears. I give it my attention – a process that produces a kind of high or rausch.

If we have to hear a recording let it be a 1911-style shellac disc or even wax cylinder, cranked up by hand, not electricity – a magic music box to baffle the dog with its master’s voice – a cabinet of aural marvels. If we have to be haunted by music’s non-presence (every recording is the tombstone of a live performance) let it be by one of these (see above) graceful ear-shaped or seashell-shaped machines, a Surrealist’s delight (Leonora Carrington’s “ear trumpets”) or Spirit Trumpet for a charlatanesque medium…

Trevor Blake: Elephant

31 October 2011 » art, trevorblake


Elephant. July 2011. Pen and Pencil.

Trevor Blake: Bear

24 October 2011 » art, fight, trevorblake


Bear (detail). May 2011. Pen and Pencil.

Trevor Blake: Pencil Case

17 October 2011 » art, trevorblake


Pencil Case. Leaves, paper, glue, tape. Trevor Blake. 2005-2011.

Trevor Blake: Shovel

16 October 2011 » ovo


Shovel. June 2011. Pen and Pencil.

Trevor Blake: Occupy Portland 8 October 2011

08 October 2011 » art, fight, portland, trevorblake


Bonus Army protest, Portland Oregon USA August 1932. SW 4th and Main Street.

Occupy Portland protest, Portland Oregon USA October 2011.  SW 4th and Main Street.


Smedley Butler, author of War is a Racket, addresses the Bonus Army.

Occupy Portland protest, Portland Oregon USA October 2011.

October 2011 photographs by Trevor Blake.  Public Domain.

OVO 20 Juven(a/i)lia (October 2011)

01 October 2011 » art, books, comics, games, krankheit, magick, money, ovo, periodical, science, sperm, surrealism, television, trevorblake, zine

OVO 20 JUVEN(a/i)LIA

112 pages, 8.5 x 11, $10.00

The best of OVO 1987 – 2011. Walter Alter, Dmitry Babenko, Hakim Bey, Trevor Blake, Johnny Brainwash, Chris C. Cilla, Cunnichant Night Owl, Mike Diana, Yael Ruth Dragwyla, James Ellis, Karen Elliot, Feral Faun, Klint Finley, Richard Ford, Chris Gross, Mike Gunderloy, Ginger Hutton, Ian MacEwan, Ernest Mann, Melissa, Thom Metzger, Jennifer Murrian, PM, Gerry Reith, James V. Scianna, Stuart Swezey, tENTATIVELY, a cONVENIENCE, V. Vale.

[Free] [Purchase]

Review by Ferdinand Bardamu: “To someone of the Internet Era, where narcissistic self-expression is just a couple of mouse clicks away, the effort and dedication involved in compiling an entire magazine, from writing and gathering the material to binding the physical copies and mailing them out, is difficult to relate to. Still, this is a great little collection of oddities, ranging from poetry to short stories to investigative journalism on offbeat subjects.”

Trevor Blake: Introduction
Mike Diana: Read OVO
Hakim Bey: Salon Apocalypse
Hakim Bey: Evil Eye
Hakim Bey: Intellectual S/M is the Fascism of the Eighties
Hakim Bey: Ringing Denunciation of Surrealism
Johnny Brainwash: Holding Games for Ransom
Gerry Reith: Letter from the Graveyard Shift
Cunnichant Night Owl: Lunalogue
Thom Metzger: The Hypmogoogoopizin’ Man
Thom Metzger: Wad Rules
Richard Ford: Bellowing Forth and Brandishing
James Ellis: Mayhem
Mike Gunderloy: The Meta-Network
James V. Scianna: A Pit Stop Along the Inward Journey
Chris Cilla: Sperm Trek
Anonymous: 23 Sperm Stories 23
Mike Diana: Attack of the Giant Killer Sperm
Feral Faun: Thoughts on Experimentation
tENTATIVELY, a cONVENIENCE: Lidznap
Chris Gross: Three Letters
James Ellis: Control
Klint Finley: The New Currency War
PM: Liberating Wednesday
Ernest Mann: Warbucks Intra-Family Communique
Ernest Mann: Becoming More Free
Karen Elliot: Operation Negation
Walter Alter: Little Wally’s Reader (Lights = Camera = Action / Densest? / The List of Recalibrations)
Chris Cilla: Apple / Pineapple
Review: My Struggle by Mark Mothersbaugh
Review: The Skin Horse by Nabil Shaban
Review: The Myth of Natural Rights by L. A. Rollins
Interview: Melissa
Interview: Stuart Swezey
Interview: Ginger Hutton
Interview: Yael Ruth Dragwyla
Interview: Jennifer Murrian
Interview: V. Vale
Trevor Blake: Tape Fragmentation
Trevor Blake: Magnetic Poetry
Trevor Blake: Saturn Return
Trevor Blake: New Superstition from a Dream
Trevor Blake: Mutants First
Trevor Blake: Science is Anti-Authoritarian
Trevor Blake: Tipping Points
Trevor Blake: Cursed Object
Trevor Blake: Trajectory Through Anarchism
James Ellis: Suffering
Trevor Blake: The Bonus Army
Trevor Blake: Multiple Name Identities
Trevor Blake: Co-Remoting with the Thunderous
Trevor Blake: Ecclesiastes 9:10
About the Contributors

… or assemble your own anthology from what I think of as the best few dozen articles or from all 19,000+ articles.

Trevor Blake: The Return of John-A-Dreams

21 September 2011 » art, comics, food, periodical, subgenius, trevorblake

Trevor Blake: The Return of John-A-Dreams (after Grant Morrison).  Digital image.  September 2011.

More Invisibles at OVO.

Trevor Blake: OVO at the Everlasting Blort

20 September 2011 » blog, ovo, subgenius, trevorblake

OVO has been a fan and follower of blort dot meepzorp dot com since 2001.  Today we got the nod from Madam Jujujive after sending her a link to tENTATIVELY a cONVENIENCE’s video for an anti-Neoist rally.  The honor is all our own!

Trevor Blake: Portland Memorials

12 September 2011 » architecture, books, ovo, periodical, portland, trevorblake, zine

Portland Memorials by Trevor Blake
144 pages, 8.5 x 11, $15.00
Thousands of memorials in downtown Portland, Oregon USA.
[Free Sample] [Print] [Kindle] [Front Cover 2550 x 3300 PNG]

Between 2009 and 2011 I walked the length and breadth of downtown Portland. When I found a memorial, I transcribed what it said and where it was. This book includes all the memorials in downtown Portland. I have entered this book into the public domain for the same reason Joseph Shemanski gave Portland the Shemanski Fountain: “to express in small measure gratitude for what the city has done for me.”

Video:
Trevor Blake: Bearing Service Co.
Trevor Blake: The Liberty Ships.

Press:
Trevor Blake at the Curiosity Club 7 February 2012.
Cornelius Rex: Twitter (26 December 2011).
Lost Oregon: Twitter (26 December 2011).
Oregon News Network: Twitter (26 December 2011).
Lisa Loving: Portland Memorials Lists City Histories Depicted in Park Benches, Fountains, and More (The Skanner, Volume XXXIII No. 60.  19 December 2011).
Klint Finley: Twitter (19 December 2011).
Ivan Stang: Portland Memorials (ScrubGenius, 19 December 2011).

Trevor Blake: September 11th 2011

06 September 2011 » 9/11, christianity, fight, food, islam, trevorblake

On the morning of Sunday, September 11th 2011, I will be drinking coffee with sugar and cream and eating a croissant. I will do this in commemoration of the victory of the Holy Roman Empire and the Polish-Lithuanian Commonwealth over the Ottoman Empire near Vienna on September 11th, 1683.

Wikipedia: Battle of Vienna Culinary Legends

Several culinary legends are related to the Battle of Vienna. One legend is that the croissant was invented in Vienna, either in 1683 or during the earlier siege in 1529, to celebrate the defeat of the Ottoman attack of the city, with the shape referring to the crescents on the Ottoman flags. This version of the origin of the croissant is supported by the fact that croissants in French are referred to as Viennoiserie, and the French popular belief that Vienna-born Marie Antoinette introduced the pastry to France in 1770. [...] After the battle, the Viennese discovered many bags of coffee in the abandoned Ottoman encampment. Using this captured stock, Franciszek Jerzy Kulczycki opened the third coffeehouse in Europe and the first in Vienna, where, according to legend, Kulczycki himself added milk and honey to sweeten the bitter coffee, thereby inventing cappuccino.

I might have a side of bacon, too.

See also Trevor Blake: 9/11 Timeline.

Trevor Blake: Stupeflix

30 August 2011 » architecture, art, portland, trevorblake

Stupeflix is an online video editing application. They recently used some of my public domain photographs to make a demonstration video for their product. They asked permission first, did a fine job, and I approve. Thanks Stupeflix and good luck!

Trevor Blake: Village Anonymous

05 August 2011 » art, television, trevorblake


Trevor Blake: Village Anonymous (after The Prisoner by Patrick McGoohan and after Anonymous). The Village. August 2011.

Mike Gunderloy: The Meta-Network, or, A Battle With Footnotes

12 July 2011 » ovo, periodical, zine

Information is “in” these days [1].  Robert Anton Wilson’s Right Where You Are Sitting Now is mainly about information, as is the new Signal catalog from the folks at Whole Earth (who of course have made a career out of spreading information, as indicated by their slogan of “access to tools”).[2]  Yet while the phrases “information economy” and “underground economy fall [3] easily from the lips of major pundits, no one has yet combined the implications of these ideas to consider the “underground information economy.”

Clearly there is such an underground economy of information.  Just as there is an underground economy of financial transactions, hidden from “official” [4] scrutiny by active or passive design, [5] there is an underground economy of information which is similarly largely unknown to anyone other than its participants.  Some [6] have called this “the Network,” but that term is too confining for the reality. [7]  The underground information economy is more precisely conceptualized as a network of networks, or a meta-network, with a complex an unvisualizable, though not undiscussable, connectivity.

To show that the underground information economy is structured as a meta-network it suffices to consider the contacts of a typical fanzine editor.  Take, for example, Dave Meltzer, editor of The Wrestling Observer. [8]  He can probably contact almost anyone in the network centered around the appreciation and examination of professional wrestling very quickly, either through his own mailing list or through those of other zines which he sees.  But he is nearly [9] helpless to get in touch with [10] someone whose prime interest is the music of the Beatles, or someone fascinated by the goddess Demeter.  The (lack of) relationship is reciprocal: the editors of Good Day Sunshine or Pallas Society News would find it extremely difficult to locate a source of pro wrestling information with their own resources.  Yet the music collectors and the pagans have their own well-developed networks, just as the wrestling fans do.

However, there are ways for these disparate networks to communicate, [11] for there are links which span the various networks and give them an overall channel of communication, if they want it. [12]  These links are the zines and people who participate actively in more than one of the component networks of the meta-network, such as my own Factsheet Five. [13]  These inter-network links are similar to the gateways of the international computerized telecommunications network, but I prefer a visualization more related to the physical universe.  If we think of each network as a ball of cotton, with fuzzy edges of connections falling away from the core, then the linking zines are bits of string which tie the various cotton balls together. [14]

That is all very nice, but what’s the point? [15]  Well, the meta-network is a more fragile thing than any of its component networks, for it is a much more fragile thing than they are.  While each component network has many links between individual zines and people, the meta-network is created by just a few network-spanners. [16]  To eliminate the punk music network [17] would require eliminating nearly all of its component pieces, for almost any of the zines could carry on the business of connecting people and exchanging information all by itself.  But to eliminate the meta-network would only require destroying a handful [18] of key zines which act as conduits of cross-fertilizing information. [19]

Thus, we [20] can see [21] that while all zines [22] are created [23] equal, [24] some are more equal than others. [25]  This idea has consequences. [26]

- -

[1] Is it possible that our use of “in” to indicate objects and actions which are fashionable itself refers to the process of inviting them “into” our minds?  Once something becomes “in” to us, it is a part of us, no longer alienated from us by the barrier between thoughts and actions.
[2] There are of course many classic works focusing on the use and misuse of information as well, from Korzybski’s Science and Sanity to Carroll’s Through the Looking Glass.
[3] A word which indicates the lack of volition involved in spreading the cliche variety of meme.
[4] A word with very little information content. Incidentally, the practice of indicating loaded words with quotation marks in speaking by waving a pair of fingers in the air apparently dates back to Korzybski’s lectures.
[5] That is, by hiding or by just not making a lot of fuss.
[6] For example, the Rev. Batrix.
[7] So, for that matter, is any term. Identifying a word as “too confining” is a common ploy to enable the author to dismiss someone else’s work in favor of his own.
[8] One of the beauties of thought experiments – gedankenexperiments to you pendants – is that it is unnecessary to obtain the consent of the experimental subject.
[9] Note this word. We’ll come back to it.
[10] A metaphor for those who prefer a more tactile approach to information.
[11] Admittedly in a slow and imperfect fashion.
[12] We’re back. Did you notice?
[13] If I was properly humble, in the academic mode which this structure seems to indicate, I would have relegated that title to a footnote. But I refuse to let my imagination be bound as much by the form as it “should” be. Indeed, these footnotes are getting progressively more out of hand – another tactile information metaphor.
[14] To complicate the picture beyond our capacity to derive any pedagogic lesson from it, the phenomenon may well be hierarchical and scale-independent. That is, what appears at first to be a meta-network may in turn prove to be a component network of a meta-meta-network, just as Dean Swift’s great fleas were merely resting on the backs of still greater fleas.
[15] As in pencil point; the “point” is the place from which information magically flows – and we know information is in fact magical, for it is nothing more than the old power of naming.
[16] That is, the component networks have more connectivity and are correspondingly more robust. The previous phrase, replete with pompous words, belongs in the main text but has somehow fallen down the page into this footnote. This bodes ill for finishing this paper.
[17] Some neophobes would argue that this is a laudable goal, but in this case it is only an example for purpose of illustration.
[18] Oh no! More tactile metaphors! Why is there this hidden fascination in the language with information as something we can touch and therefore manipulate (from the Latin manus, hand)? Could it be a plot by the creators of language to retain control?
[19] Now there’s an interesting idea: what does information sex look like?
[20] This is, of course, the auctorial we, by which the author – it’s no coincidence that this word is so close to “authoritarian” – attempts to co-opt the reader into agreeing with a conclusion without having time to consider it.
[21] A return to the visual information metaphor initiated by the word “focusing” way back in footnote number 2.
[22] And just why do you accept the idea that all information in the underground is contained in “zines?” Isn’t the spread of dangerous and outrageous ideas by word of mouth at least as important?
[23] Note that we are all convinced information is not a conserved quantity; it is easily created and therefore, reciprocally, destroyed. But that’s the subject for another essay.
[24] A mathematical term dragged into the discourse in order to bolster a weak argument with the authority of the “Queen of Sciences.”
[25] Here the author borrows a metaphor from Orwell’s classic Animal Farm, in order to impress his knowledgeable readers with his erudition. The less knowledgeable readers, perhaps, will think he coined it himself and be impressed with his wordcraft.
[26] As do all ideas, but it’s become obvious that we will not get to the consequences in the main text. Instead, it’s time to finish this essay were it was obviously heading all along, in the footnotes. The possible conclusions bifurcate neatly, depending on the political prejudices of the author. On the one hand, it would be easy to call for the increased support of the critical links which hold the various networks together into the meta-network, as a means of buttressing our civil rights. On the other, it would also be easy to call for more redundancy in the meta-network, which could be achieved by supporting new attempts to build inter-network links. On the third tentacle, perhaps the unexamined assumption that the meta-network is A Good Thing could be called into question – would it really be so bad if a thousand component networks bloomed in isolation? But the entry of the question mark shows that the information content of this essay has come to an end, and so we leave the reader here, probably with a vague sense of being cheated, to devise his own means of escape from this footnote and on to the next piece of text.

OVO 7 Information (October 1989)

Trevor Blake: Unpaid Data Entry

07 July 2011 » art, subgenius, trevorblake


Trevor Blake: Unpaid Data Entry. Digital image. July 2011. Public Domain.