::antistresspoweet::

Even dromen in alle eenvoud....

2011-07-22T14:38:00.003+02:00

we bouwen een sociale wigwam
groot genoeg voor heel de mensheid
eerst mogen alle andere dieren er wel in
daarna doen we alle zaden van de wereld in onze indianen-tent groeien

in het midden branden we een vuur
waar alles en iedereen rond mag
wie zich kwaad maakt of zich ronduit gemeen gedraagt, verbrandt ten minste zijn vingers
zij die lief zijn voor anderen zien de magie in de sintels tot leven komen

for my family, for my beloved, my friends and especially my children

2010-01-17T01:40:00.001+01:00

LAGUNE RANCUNE een lied vol hoop

2010-01-17T00:53:00.004+01:00

een wereld met remmen op
draait plots vierkant strandt
in de hoeksteen van de been-
harde realiteit dat iemand
je iets aangedaan heeft en
tiranieke kleed van ziedende
woede je zou er op kunnen slaan
de moord effectief begaan _die
andere de keel toeknijpen
omdat je het maar niet kan begrijpen

een wereld met remmen op
verdwijnt in opkomend maagzuur
je hart werkrampt in de uit-
einden van je zenuwen zindert:
stress door de grenzen van je
verontwaardiging opgedroogd
al je geduld opgedroogd al je
liefde voor de ander vervlogen
je zou het willen uitschreeuwen
van de pijn daar waar de belediging zelve
zo intens kan zijn

een wereld met remmen op
raast hammert slaat en buldert in
op de muren van de apathie en de stille
onbewogenheid
het veelkoppig monster van de
jaloezie graait weelderig om je heen
is niemand nog veilig
je veert keer op keer weer ziedend
recht over al dit onrecht
jouw aangedaan waarbij je
dan zelf blindelings oordeelt
over goed en kwaad struikelt
elk zogenaamd verraad

een wereld met remmen op
verzinkt in de wijzers van de tijd
het berouw komt slenterend
zoals immer te laat
was het dit allemaal waard?
deze woordenmoord
dit bloederige dadenkoord
waarin de ander weer eens opgeknoopt
in de knapzak van jouw frustraties
als je maar eens sneller
leren kon
te vergeven
je bedenkt wel in mooie theorieën
vruchteloos
hoe verfoeilijk het wij en zij
denken is
hoe oorlog de reële onzin
is
van de geweldadige waanzin

een wereld met remmen op
verbrandt zich aan de meren
van het tijdloze
aan de lippen van het alwetende
je kleine zieltje je bange hartje
je protserig gezwets verstilt
en verstomt in de aanschijn
van dieper spiritueel besef
of hoe je beste vriend
je geestesgenoot op 't einde
van zijn leven in de Dolle Mol
het over bestrijden van ideeën en ideologieën heeft
en het aanvaarden van de ander
en zo de grenzen van het eindige
verbroken heeft

een wereld met remmen op
blijkt een illusie te zijn
bij herhaling _hetzelfde leren
hetzelfde verhaal en toch
verandert er iets telkens
weer een ander spektakel
een andere situatie
in het volle besef
dat het beteren zal
dat ook ik de sleutels
ven mijn kluis
aan jou geven zal
dat ook ik toeven kan
waar mijn vriend reeds lang is voorgegaan

(voorgedragen in den Hopsack
vorige donderdag)

BIJNA DOOD

2010-01-17T00:16:00.005+01:00

vluchtschrift in rood
net niet de kransslagader
maar toch een ader in nood
regenboogwormen doorkruipen mijn gelaat
terwijl ze in paniek op mijn gezicht slaat
op mijn wegglippend bewustzijn in praat
enkele minuten weg van de wereld
plotsklaps op alle planeten tegelijk
in alle kamers van mijn leven tezelfdertijd
bevrijd van dit éne ruimtelijk hok
dat het voortschrijden van de wijzers
sequentie na sequentie scène na scène afklokt
plots een onmenselijk onmetelijk ademloos moment
als een stuiterende knikker in een fractie
van een seconde wel miljoenen knikkers tegelijk is
een golfslag in ademnood een deining in de stilstand
een trilling in de leegte die mijn kleine ik overschrijd
mijn aderen die langzaam leeglopen leegbloeden
over dit laatste ogenblik heen
sprongen in de tijd over verleden en toekomst
de poppen kast die totaal openscheurt
in al mijn herinneringen
in alle herinneringen van alle mensen
van alle levende wezens en dode materie
het fotoboek van het al
dat zich opent temidden de dijen
van mijn pijnappelklier
ik als grenzenloos bewustzijn
over al over alles heen
mijn ik nergens meer te vinden
versplinterd gebroken opgelost
tot niets tot nergens
vertoevend waar pijn noch koude
me nog raken kunnen
alles doordrenkt met wit licht
even inzicht in alles
alles even in zicht
herleid tot substantiële waarnemer
over lichtwezens en demonen
7 wegen hier 7 wegen daar
als in het Tibetaans dodenboek
als in Dante's Divina Comedia
als in Krishna die zijn mond openbaart aan Arjuna
Hemel en Hel van William Blake
focussend op het middelpuntvliedende licht
het enige zuivere pad
dat om geen uitleg vraagt
en toch de vraag de stem
in het ijle niets
die krijtend kreet
in het aanschijn
van deze algehele lichtbak
waar eindigt dit?
waarop het ik
zich terug bekleed
betegeld en veréénzelvigd
met het enge hok vande sluitertijd
klaar om zich te laten naaien
door de dokters
in mijn levensfilm
aan deze of gene zijde
valt doodgaan wel mee

sex en

2009-12-20T23:20:00.002+01:00

een beetje helpen
seffens val ik in slaap
meer en meer
tot alles weggeblazen wolken lijken
en de zon
iets met me doet
want momenteel vriest mijn ziel eraf

ik ben platgetreden niemandsland
in het ongeluk van ware vrijheid
aan het andere einde van mezelf een herinnering
vervlogen zoals wie ik was een verslagen dodentocht
een vlucht tot leven
een gebaar van geboren wil
een geborgen afstand over mezelf schaatsend

EEN EIGENZINNIG JUBILEUM

2009-12-14T00:37:00.003+01:00

EEN EIGENZINNIG JUBILEUM is een éénmalige gebeurtenis georganiseerd door Pipelines vzw, ism 't Antistressproject vzw en Antwerpen Boekenstad.

Niet voor niets loopt het gebeuren samen met de Klimaatconferentie 2009 te Kopenhagen, Denemarken. Deels is de reden hiertoe evident: We zijn vrijwel allemaal bezorgd om wat er mer Moeder Aarde gebeurt als geheel, dus ook om de wezens die haar bewonen: planten, dieren en wij, mensen. Deels, steken wij ons Doel niet onder stoelen of banken. Hoe kan het dat een dorp integraal jaren geteisterd wordt door leegstand _om nog maar te zwijgen over de mensen die er zelfmoord over gepleegd hebben, terwijl er zoveel mensen dakloos zijn of in armoede leven?

Wat met de genadeloze en mensonterende opmars van de grootindustrie en multinationals te midden van ons kleinmenselijk bestaan? Hoe gaan wij hier als mens mee om? Welke compromissen zijn we (nog) bereid te sluiten in naam van dé vooruitgang? Of, is het tijd om een stapje terug te nemen, ons leven iets te onthaasten en te schoeien op de leest van een meer ambachtelijk, lokaal, kleinschaliger, organisch en meer wenswaardig bestaan? Die vragen willen en durven we openlijk te stellen.

Woensdag 16 december belooft één van die legendarische dagen te worden op het CONSCIENCEPLEIN te Antwerpen van 16 tot 22 uur, lokale tijd. We gaan met meer dan 20 deelnemende dichters, kunstenaars en muzikanten antwoord geven, elks op unieke eigenzinnige wijze, elks met een open en uitnodigende geest. Omdat de tijd gekomen is in actie te schieten. Omdat wij verantwoording willen geven aan onze kinderen en kleinkinderen. Omdat wij onze kop niet als struisvogels in het zand willen steken!

Wij doen dit niet om wie dan ook voor de borst te stoten. Wij doen dit omdat het tijd is te handelen! De oceanen verzuren, de zeespiegel stijgt langzamerhand. Willen we dat toekomende generaties nog een aangenaam leven op deze planeet kunnen leiden en dat onze bio-diversiteit gegarandeerd blijft? Dan is het hoogdringend tijd om Onze stem eigenzinnig te verheffen! Kom en vergezel ons in onze bescheiden kleinmenselijke bijdrage aan de adem Uwer kinderen. We voorzien in een vuurkorf, wat glühwein en maaltijdsoep....

Zo je wil, kan je op de naam van deelnemende artiesten 'clicken' en meer info bekomen. Iedereen is welkom!

Overzicht van de happening en haar performers:

16u00 Antistresspoweet
16u15 Silke Vanhoof (singer/songwriter)
16u30 David Vandepitte
16u45 Stille Beer (legendarisch straatdichter)
17u00 Michaël Vandebril
17u15 Dirk Elst
17u30 Christoffel Hendrickx
17u45 Frans Vlinderman
18u00 Bart van Peer
18u15 Dolf B Wolf (shamanistic jewel)
18u30 Koen Flameng (singer/songwriter)
18u45 Niko Rubbens (Dwangbuizerdeffect)
19u15 Pierre Magis (magisch poëet uit de koekjesfabriek)
19u30 Frank De Vos
19u45 Ferre Denis (VVL)
20u00 Vincent Bio (Litera Este)
20u15 Martin Pulaski
20u30 Wim Geysen en Hanne De Backer
20u45 Herman J. Claeys
21u00 Peter Holvoet-Hanssen
21u15 Didi De Paris
21u30 Luk Paard, Kristof 'Kristo' Van Hooymissen en Charles Jarvis
22u00 slotmoment met Antistresspoweet, eventueel jamsessie?!

Wake up and live!

2009-10-05T10:21:00.000+02:00

Deze video moet je gezien hebben! ACT NOW!

There's so many problems in this time. nOne of them are mine ;)

2009-09-19T15:27:00.001+02:00

Mémoires d'Hadrien (Marguerite Yourcenar)

2009-05-03T17:29:00.003+02:00

"Like everyone else I have at my disposal only three means of evaluating human existence: the study of self, which is the most difficult and most dangerous method, but also the most fruitful; the observation of our fellowmen, who usually arrange to hide secrets where none exist; and books, with the particular errors of perspective to which they inevitably give rise."

"Life is atrocious, we know. But precisely because I expect little of the human condition, man’s periods of felicity, his partial progress, his efforts to begin over again and to continue, all seem to me like so many prodigies which nearly compensate for the monstrous mass of ills and defeats, of indifference and error. Catastrophe and ruin will come; disorder will triumph, but order will too, from time to time. . . . Some few men will think and work and feel as we have done, and I venture to count upon such continuators, placed irregularly throughout the centuries, and upon this kind of intermittent immortality."

Freak Jazz _Art in progress

2009-04-17T21:22:00.000+02:00

Rust en stabiliteit: hoe bereik je dat?

2009-04-03T00:35:00.001+02:00

Rust en stabiliteit: hoe bereik je dat?

Antistress op V-editie

2009-04-02T22:35:00.002+02:00

V-editie

Angel Meditation

2009-04-02T19:28:00.000+02:00

Yes we can ;)

2009-04-02T16:45:00.004+02:00

artdesign by SFP

A spy in the house of love

2009-03-26T00:58:00.001+01:00

"I'm an official." He says quietly. "I mean you no harm."

"I know." She answers and motions for him to sit at a nearby chair.
"Do you break your own rules often?" She asks.

"No." He answers and sits.

"It's all right. I called you..." She replies and pauses a moment. "I think I understand why now."

They sit in silence for several moments. It is not uncomfortable.

"You're my conscience or my demonic guardian angel or my god or I don't know what. I don't care anymore." She sighs. "You know what I want, don't you?"

"I think..." He answers, looking out the window.

"Say it." She commands.

"You have something to confess?" He asks as he did the first time they spoke.

She breathes deeply and clenches her fists before answering him.

"Yes. Yes, I do... I have many things to confess."

"Are you ready Sabina?"

2009-03-26T00:20:00.001+01:00

Georges-Louis Leclerc, Comte de Buffon

2009-03-25T22:04:00.004+01:00

Le style c'est l'homme même

Aristide Maillol

2009-03-24T00:31:00.005+01:00

the idea of strong and robust nude women in art was revolutionary. Whether Maillol intended to create a stir or not, he found in the female nude a passion that would consume him the rest of his long, prolific life. From a somewhat tentative, Nabi-esque beginning emerged a rekindling of a brilliant classicism, unmatched since the Greek Empire, that would speak to modern times from an ancient source. Balance, harmony, solidity, centeredness, permanence, monumentality and mass became Maillol’s aesthetic and distinguished him from the stormy, tormented work of his great contemporary Auguste Rodin and the enchanting verisimilitude of Carpeaux before him.
she is not in your space, you are in her space of solitude and peace
click on

IBOGA RULES

2009-03-20T19:14:00.000+01:00

Watch Afkicken met de ibogawortel - ibogaine in News Online | View More Free Videos Online at Veoh.com

geloven in jezelf is alles

2009-03-09T11:31:00.004+01:00

het regent al een ganse dag vette cheques in mijn brievenbus
elke dag komen er meer en meer mensen bij me langs om schilderijen te bestellen
mijn geschriften zijn nu zo populair dat je er als mens haast misselijk van zou worden
bovendien zijn we kerngezond springlevend gezegend door alle engelen
niets is te mooi om waar te zijn
we fantaseren erop los dat het geen naam heeft
we winden er geen doekjes om: wij zijn niet alleen schizofreen
maar ook bijzonder succesvol
wij zijn er U dankbaar om
dat U ons uitnodigt richting New York en Beijing
miraculeus!
ik durf ervoor te wedden dat er morgen iemand aanbelt met gratis vliegtickets

Uw Antistresspoweeterallesvan ;-)

We'll sort it out!

2009-03-09T11:26:00.002+01:00

it's all good
we'll sort it out
the man said
and the man knew

Modest Mouse-Bukowski

2009-03-09T11:19:00.003+01:00

Did you ever consider that LSD and color TV arrived for our consumption about the same time? Here comes all this explorative color pounding, and what do we do? We outlaw one and fuck up the other. TV, of course, is useless in present hands; there's not much of a hell of an argument here. And I read where in a recent raid it was alleged that an agent caught a container of acid in the face, hurled by alleged manufacturer of a hallucinogenic drug. This is also a kind of a waste. There are some basic grounds for outlawing LSD, DMT, STP - it can take a man permanently out of his mind - but so can picking beets, or turning bolts for GM, or washing dishes or teaching English at one of the local universities. If we outlawed everything that drove men mad, the whole social structure would drop out - marriage, the war, bus service, slaughterhouses, beekeeping, surgery, anything you can name. Anything can drive men mad because society is built on false stilts.

The Holotropic Mind

2009-03-09T01:06:00.001+01:00

The Holotropic Mind

Our Friends.... Onze vrienden doen het goed! ....are doing just fine!

2009-03-09T00:30:00.005+01:00

http://www.bandofholyjoy.co.uk/news.htm
band of holy joy band of holy joy band of holy joy band of holy joy band of holy joy band of holy joy band of holy joy

Understanding Spiritual Emergency

2009-03-08T23:45:00.002+01:00

A spiritual emergency could be defined as a critical and experientially difficult stage of a profound psychological transformation that involves one's entire being. This is a crisis point within the transformation process of spiritual emergence. It may take the form of non-ordinary states of consciousness and may involve unusual thoughts, intense emotions, visions, and other sensory changes, as well as various physical manifestations, JUST WATCH THE F*KING VIDEO

SE(N) Spiritual Emergency (Network)

2009-03-08T23:16:00.003+01:00

Madness radio

2009-03-08T23:08:00.001+01:00

Open the door ;-)

798space

2009-03-05T21:36:00.001+01:00

Beijing

Gedichten voorgedragen gisteren in Hopsack

2009-01-09T19:08:00.002+01:00

DREMPELWAARDE

ik struikel over mijn
strunkelend zelf en
strandt met mijn
ogen door de wijzers
van de tijd geboord
ja, ik ben niet perfect
maar dan ook niet alleen
oedipoes en medussa in 1
ik leef waar de dood heerst
het gras groeit door mijn tenen
de wolken lopen over
mijn wimpers
ik was mijn haren
met fonkelverse sterren
het licht van de zon
komt uit mijn navel
naarmate ik mezelf ontrafel
spreek ik in talen
die niemand kent
pomp ik mijn bloed
in alle leven
totdat ik mezelf helemaal heb weggegeven
door de straatstenen en alle kieren
het barsten van de Leegte
het breken van de goede smaak

MEDEPLICHTIGHEID

woorden tikken op
de vensters van mijn ziel
het lijkt wel een markt
voor schizofrenen
koopjeszondag
voor de goedgelovigen
ik breek de wereld
in twee tussen duim
en wijsvinger
knipkracht
selectie drang
immer voorwaarts
waarheen?
de grijze massa IN
van de éne kamer
de andere in
nergens een sloophamer
nergens een kalasjnikov
ingewikkelde woede
gloeiende ogen
snellen koppen
branden medemensen
nog net voor de beste
nieuwjaarswensen
spiegels met maskers

Uw Antistresspoweet

Jesus was eating mushrooms for 40 days and for 40 nights, sitting there in the desert.

2009-01-01T16:57:00.003+01:00

and then saw the devil....

REVOLUTION 1

2008-12-31T15:09:00.000+01:00

COUP DU MONDE

2008-12-31T14:31:00.006+01:00

FANTASTIC FICTION

Alexander Trocchi was born in Glasgow in 1925. By the time of his death in 1984, he had cut a colourful swathe through many of the important cultural movements in both Europe and America. A controversial figure, described variously as a junkie, pimp, outsider, Scottish beat, literary outlaw, visionary, philosopher, underground organiser and antique book dealer, Trocchi rubbed shoulders with many of the great names of modern literature. Allen Ginsberg, Samuel Beckett, William Burroughs, Eugene Ionesco, Norman Mailer, Jean Genet, Timothy Leary, R.D. Laing and many others fell into his orbit of influence.

A Revolutionary Proposal: Invisible Insurrection of a Million Minds
Alexander Trocchi
Published as "Technique du coupe du monde," Internationale Situationniste #8 (January 1963)

And if there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signalling through the flames. -- Antonin Artaud, The Theatre and Its Double, 1958

Revolt is understandably unpopular. As soon as it is defined, it has provoked the measures for its confinement. The prudent man will avoid his definition which is in effect his death-sentence. Besides, it is a limit.

We are concerned not with the coup d'etat [seizure of the state] of Trotsky and Lenin, but with the coup du monde [seizure of the world], a transition of necessity more complex, more diffuse than the other, and so more gradual, less spectacular. Our methods will vary with the empirical facts pertaining here and now, there and then.

Political revolt is and must be ineffectual precisely because it must come to grips at the prevailing level of political process. Beyond the backwaters of civilization it is an anarchronism. Meanwhile, with the world at the edge of extinction, we cannot afford to wait for the mass. Nor to brawl with it.

The coup du monde must be in the broad sense cultural. With his thousand technicians, Trotsky seized the viaducts and the bridges and the telephone exchanges and the power stations. The police, victims of convention, contributed to his brilliant enterprise by guarding the old men in the Kremlin. The latter hadn't the elasticity of mind to grasp that their own presence there at the traditional seat of government was irrelevant. History outflanked them. Trotsky had the railway stations and the powerhouses, and the "government" was effectively locked out of history by its own guards.

So the cultural revolt must seize the grids of expression and the powerhouses of the mind. Intelligence must become self-conscious, realise its own power, and, on a global scale, transcending functions that are no longer appropriate, dare to exercise it. History will not overthrow national governments; it will outflank them. The cultural revolt is the necessary underpinning, the passionate substructure of a new order of things.

What is to be seized has no physical dimensions nor relevant temporal color. It is not an arsenal, nor a capital city, nor an island, nor an isthmus visible from a peak in Darien. Finally, it is all these things too, of course, all that there is, but only by the way, and inevitably. What is to be seized -- and I address that one million (say) here and there who are capable of perceiving at once just what it is that I am about, a million potential "technicians" -- is ourselves. What must occur, now, today, tomorrow, in those widely dispersed but vital centres of experience, is a revelation. At the present time, in what is often thought of as an age of the mass, we tend to fall into the habit of regarding history and evolution as something which goes relentlessly on, quite without our control. The individual has a profound sense of his own impotence as he realizes the immensity of the forces involved. We, the creative ones everywhere, must discard this paralytic posture and seize control of the human process by assuming control of ourselves. We must reject the conventional fiction of "unchanging human nature." There is in fact no such permanence anywhere. There is only becoming. [Author's note: The prise de pouvoir (seizure of power) by an avant garde is obviously only an early stage in a larger, more universal movement, and it must not be forgotten that our group of originators "ne pourra realiser son projet qu'en se supprimant . . . ne peut effectivement exister qu'en tant que parti se depasse lui-meme" ("will be able to achieve its goal only by suppressing itself . . . can really exist only as a party that transcends itself").]

Organization, control, revolution: each of the million individuals to whom I speak will be wary of such concepts, will find it all but impossible with a quiet conscience to identify himself [sic] with any group whatsoever, no matter what it calls itself. That is how it should be. But it is at the same time the reason for the impotence of intelligence everywhere in the face of events, for which no one in particular can be said to be responsible, a yawning tide of bloody disasters, the natural outcome of that complex of processes, for the most part unconscious and uncontrolled, which constitute the history of man. Without organization, concerted action is impossible; the energy of individuals and small groups is dissipated in a hundred and one unconnected, little acts of protest . . . a manifesto here, a hunger strike there. Such protests, moreover, are commonly based on the assumption that social behaviour is intelligent: the hallmark of their futility. If change is to be purposive, men [sic] must somehow function together in the social situation. And it is our contention that there already exists a nucleus of men who, if they will set themselves gradually and tentatively to the task, are capable of imposing a new and seminal idea: the world waits for them to show their hand.

We have already rejected any idea of a frontal attack. Mind cannot withstand matter (brute force) in open battle. It is rather a question of perceiving clearly and without prejudice what are the forces that are at work in the world and out of whose interaction tomorrow must come to be; and then, calmly, without indignation, by a kind of mental ju-jitsu that is ours by virtue of intelligence, of modifying, correcting, polluting, deflecting, corrupting, eroding, outflanking . . . inspiring what we might call the invisible insurrection. It will come on the mass of men, if it comes at all, not as something they have voted for, fought for, but like the changing season; they will find themselves in and stimulated by the situation consciously at last to recreate it within and without as their own.

Clearly, there is in principle no problem of production in the modern world. The urgent problem of the future is that of distribution, which is presently (dis)ordered in terms of the economic system prevailing in this or that area. This problem on a global scale is an administrative one and will not finally be solved until existing political and economic rivalries are outgrown. Nevertheless, it is becoming widely recognized that distributive problems are most efficiently and economically handled on a global scale by an international organization like the United Nations (food, medicine, etc.) and this organization has already relieved the various national governments of some of their functions. No great imagination is required to see in this kind of transference the beginning of the end for the nation-state. We should at all times do everything in our power to speed up the process.

Meanwhile, our anonymous million can focus their attention on the problem of "leisure." A great deal of what is pompously called "juvenile delinquency" is the inarticulate response of youth incapable of coming to terms with leisure. The violence associated with [juvenile delinquency] is a direct consequence of the alienation of man from himself [sic] brought about by the Industrial Revolution. Man has forgotten how to play. And if one thinks of the soulless tasks accorded each man in the industrial milieu, of the fact that education has become increasingly technological, and for the ordinary man no more than a means of fitting him for a "job," one can hardly be surprised that man is lost. He is almost afraid of more leisure. He demands "overtime" and has a latent hostility towards automation. His creativity stunted, he is orientated outwards entirely. He has to be amused. The forms that dominate his working life are carried over into leisure, which becomes more and more mechanized; thus he is equipped with machines to contend with leisure that machines have accorded him. And to offset all this, to alleviate the psychological wear and tear of our technological age, there is, in a word, ENTERTAINMENT.

When our man [sic] after the day's work comes twitching, tired, off the assembly-line into what are called without a shred of irony his "leisure hours," with what is he confronted? In the bus on the way home he reads a newspaper that is identical to yesterday's newspaper, in the sense that it is a reshake of identical elements . . . four murders, thirteen disasters, two revolutions, and "something approaching a rape" . . . which in turn is identical to the newspaper of the day before that . . . three murders, nineteen disasters, one counter-revolution, and something approaching an abomination . . . and unless he is a very exceptional man, one of our million potential technicians, the vicarious pleasure he derives from paddling in all this violence and disorder obscures from him the fact that there is nothing new in all this "news" and that his daily perusal of it leads not to a widening of consciousness, to a species of mental process that has more in common with [the] salivations of Pavlov's dogs than with the subtleties of human intelligence.

Contemporary man expects to be entertained. His active participation is almost nonexistent. Art, whatever it is, is something of which it is sometimes even proud to flaunt an attitude of invincible ignorance. This sorry state of affairs is unconsciously sanctioned by the stubborn philistinism of our cultural institutions. Museums have approximately the same hours of business as churches, the same sanctimonious odors and silences, and a snobbish presumption in direct spiritual opposition to the vital men [sic] whose works are closeted there. What have those silent corridors to do with Rembrandt and the "no smoking" signs to do with Van Gogh? Beyond the museum, the man in the street is effectively cut off from art's naturally tonic influence by the fashionable brokerage system which, incidentally, but of economic necessity, has more to do with the emergence and establishment of so-called "art-forms" than is generally realized. Art can have no existential significance for a civilization that draws a line between life and art, and collects artifacts like ancestral bones for reverence. Art must inform the living; we envisage a situation in which life is continually renewed by art, a situation imaginatively and passionately constructed to inspire each individual to respond creatively, to bring to whatever act a creative comportment. We envisage it. But it is we, now, who must create it. For it does not exist.

The actual situation could not be in sharper contrast. Art anaesthetizes the living; we witness a situation in which life is continually devitalized by art, a situation sensationally and venally misrepresented to inspire each individual to respond in a stoic and passive way, to bring to whatever act a banal and automatic consent. For the average man, dispirited, restless, with no power of concentration, a work of art to be noticed at all must compete at the level of spectacle. It must contain nothing that is in principle unfamiliar or surprising; the audience must be able easily and without reservation to identify with the protagonist, to plant itself firmly in the "driving-seat" of the emotional roller-coaster and switch over to remote control. What takes place is empathy at a very obvious level, blind and uncritical. To the best of my knowledge, it was Brecht who first drew attention to the danger of that method of acting which aims to provoke the state of empathy in an audience at the expense of judgment. It was to counter this promiscuous tendency on the part of the modern audience to identify that he formulated his "distance-theory" of acting, a method calculated to inspire a more active and critical kind of participation. Unfortunately, Brecht's theory has had no impact whatsoever on popular entertainment. The zombies remain; the spectacle grows more spectacular. To adapt an epigram of [Guy Debord] a friend of mine: Si vous ne voulouns pas assister au spectacle de la fin du monde, il nous faut travailler a la fin du monde du spectacle [if you don't want to assist in the spectacle of the end of the world, you must work toward ending the world of the spectacle] (Notes editoriales d'Internationale Situationniste, 3 Decembre, 1959. Freely adapted [by Trocchi] from the original.)

Such art as has claim to be called serious touches popular culture today only by way of the fashion industry and advertizing, and for many years it has been infected by the triviality attaching to those enterprises. For the rest, literature and art exist side by side with mechanized popular culture and, except in an occasional film here and there, have little effect upon it. Only in jazz, which retains the spontaneity and vitality deriving from its proximity to its beginnings, can we see an art which springs naturally out of a creative ambience. But already more adulterated forms tend to be confused with the authentic. In England, for example, we are confronted by the absurd craze for "trad": a rehash of what went on in New Orleans in the early Twenties, simple, obvious, repetitious, overshadows almost completely the vital tradition of the post-Charlie Parker era.

For a long time now the best artists and fine minds everywhere have deplored the gulf that has come to exist between art and life. The same people have usually been in revolt during their youth and have been rendered harmless by "success" somewhere around middle age. The individual is powerless. It is inevitable. And the artist has a profound sense of his own impotence. He [sic] is frustrated, even confounded. As in the writings of Kafka, this fearful sense of alienation pervades his work. Certainly the most uncompromising attack on conventional culture was launched by Dada at the end of the First World War. But the usual defense-mechanisms were soon operating: the turds of "anti-art" were solemnly framed and hung alongside "The School of Athens"; Dada thereby underwent [...] castration by card-index and was soon safely entombed in the histories as just another school of art. The fact is that while Tristan Tzara et al could point deftly to the chancre on the body politic, could turn the spotlight of satire on the hypocracies that had to be swept away, they produced no creative alternative to the existing order. What were we to do after we had painted a moustache on the Mona Lisa? Did we really wish Ghenghis Khan to stable his horses in the Louvre? And then?

In a recent essay [The Secret Reins, (Centre 42) Encounter No. 102, March, 1962], Arnold Wesker -- concerned precisely with this gulf between art and popular culture, and with the possibility of reintegration -- refers to the threatened strike of 1919 and to a speech of Lloyd George. The strike could have brought down the government. The Prime Minister said:

"You will defeat us. But if you do so, have you weighed the consequences? The strike will be in defiance of the government of the country and by its very success will precipitate a constitutional crisis of the first importance. For, if a force arises in the state which is stronger than the state itself, then it must be ready to take on the functions of the state. Gentlemen -- have you considered, and if you have, are you ready?

The strikers were not ready. Mr. Wesker comments:

The crust has shifted a bit, a number of people have made fortunes out of the protest and somewhere a host of Lloyd Georges are grinning contentedly at the situation. . . . All protest is allowed and smiled upon because it is known that the force -- economically and culturally -- lies in the same dark and secure quarters, and this secret knowledge is the real despair of both artist and intellectual. We are paralyzed by this knowledge, we protest every so often but really the whole cultural scene -- particularly on the Left -- "is one of awe and ineffectuality." I am certain that this was the secret knowledge that largely accounted for the decline of the cultural activities of the Thrties -- no one really knew what to do with the philistines. They were omnipotent, friendly, and seductive. The germ was carried and passed on by the most unsuspected; and this same germ will cause, is beginning to cause, the decline of our new cultural upsurge unless . . . unless a new system is conceived whereby we who are concerned can take away, one by one, the secret reins.

Although I found Mr. Wesker's essay in the end disappointing, it did confirm for me that in England as elsewhere there are groups of people who are actively concerned with the problem. As we have seen, the political-economic structure of western society is such that the gears of creative intelligence mesh with the gears of power in such a way that, not only is the former prohibited from ever initiating anything, it can only come into play at the behest of forces (vested interests) that are often in principle antipathetic towards it. Mr. Wesker's "Centre 42" is a practical attempt to alter this relationship.

I should like to say at once that I have no fundamental quarrel with Mr. Wesker. My main criticism of his project (and I admit my knowledge of it is very hazy indeed) is that it is limited and national in character, and that this is reflected in his analysis of the historical background. He takes the 1956 production of Osborne's Look Back in Anger, for example, to be the first landmark in "our new cultural upsurge." A serious lack of historical perspective, the insularity of his view . . . these features are, I am afriad, indicative of a kind of church-bazaar philosophy which seems to underlie the whole project. Like handicrafts, art should not be expected to pay. Mr. Wesker calls for a tradition "that will not have to rely on financial success in order to continue." And so he was led to seek the patronage of trade unions and has begun to organize a series of cultural festivals under their auspices. While I have nothing against such festivals, the urgency of Mr. Wesker's original diagnosis led me to expect recommendations for action at a far more fundamental level. Certainly, such a programme will not carry us very far towards seizing what he so happily refers to as "the secret reins." I do not think I am being overcautious in asserting that something far less pedestrian than an appeal to the public-spiritedness of this or that group will be the imperative of the vast change we have in mind.

Nevertheless, as one point in what remains an interesting essay, Mr. Wesker quotes Mr. Raymond Williams. Who Mr. Williams is and from what work the quotation is taken I am unfortunately ignorant. I only wonder how Mr. Wesker can quote the following and then go out and look for patronage.

The question is not who will patronize the arts, but what forms are possible in which artists will have control of their own means of expression, in such ways that they will have relation to a community rather than to a market or a patron.

Of course it would be dangerous to pretend to understand Mr. Williams on the basis of such a brief statement. I shall say simply that for myself and for my associates in Europe and America, the key phrase in the above sentence is: "artists will have control of their own means of expression." When they achieve that control, their "relation to a community" will become a meaningful problem, that is, a problem amenable to formulation and solution at a creative and intelligent level. Thus we must concern ourselves forthwith with the question of how to seize and within the social fabric exercise that control. Our first move must be to eliminate the brokers.

At the beginning of these reflections, I said that our methods will vary with the empirical facts pertaining here and now, there and then. I was referring to the tentative, essentially tactical nature of our every act in relation to a given situation, and also to the international constitution of what we might call the new underground. Obviously, all our operations must be adapted to the society in which they take place. Methods used effectively in London might be suicidal or simply impracticable in Moscow or Peking. Always, the tactics are for here and how; never are they in the narrow sense political. Again, these reflections themselves must be regarded as an act of the new underground, a prescriptive document which, in so far as it refers for the most part to what is yet to happen, awaits baptism by fire.

How to begin? At a chosen moment in a vacant country house (mill, abbey, church or castle) not too far from the City of London, we shall foment a kind of cultural "jam session": out of this will evolve the prototype of our spontaneous university.

The original building will stand deep within its own grounds, preferably on a river bank. It should be large enough for a pilot group (astronauts of inner space) to situate itself, orgasm and genius, and their tools and dream-machines and amazing apparatus and appurtenances; with outhouses for "workshops" large as could accommodate light industry; the entire site to allow for sponatneous architecture and eventual town planning. I underline the last because we cannot place too much emphasis on the fact that "l'art integral ne pourvait se realiser qu'au niveau de l'urbanisme" [integral art cannot be accomplished except on the level of urbanism] (Documents Situationnistes, Guy-Ernest Debord. At present, town planning is determined by and tends to reinforce conventional functions, conventional attitudes. You sleep here, eat there, work there, die there. A revolutionary architecture will take no account of functions to be transcended.) In the 1920s, Diaghilev, Picasso, Stravinski, and Nijinsky acted in concert to produce a ballet; surely it does not strain our credulity to imagine a far larger group of our contemporaries acting in concert to create a town. We envisage the whole as a vital laboratory for the creation (and evaluation) of conscious situations; it goes without saying that it is not only the environment which is in question, plastic, subject to change, but men also.

It must be said at once that this quick sketch of our action-university is not the product of vague speculation. Not only are there numerous historical parallels, past situations, fortuitous or controlled, some of whose features are manifestly adaptable to our own project. During the past decade in many countries, we have already conducted sufficient experiments of a preparatory nature: we are ready to act.

It used to be said that the British Empire was won on the playing fields of Eton. During the 18th and 19th centuries, the British ruling class was formed exclusively in such institutions; the deportment they conferred on a man was vitally relevant to the growth of England at that time. Unfortunately, the situation at Eton and similar establishments did not continue to inspire its own improvement. Inertia set in. Forms that were once fruitful hardened until they were devoid of contemporary relevance. In the age of relativity, we envisage the spontaneous university as filling the vital formative function of our times.

The Jewish settlement in Israel turned a desert into a garden and astounded all the world. In a flowering garden already wholly sustained by automation, a fraction of such purposiveness applied to the cultivation of men would bring what results?

Then, there was the experimental college at Black Mountain, North Carolina. This is of immediate interest to us for two reasons. In the first place, the whole concept is almost identical to our own in its educational aspect; in the second, some individual members of the staff of Black Mountain, certain key members of wide experience, are actually associated with us in the present venture. Their collaboration in invaluable.

Black Mountain College was widely known throughout the United States. In spite of the fact that no degrees were awarded, graduates and non-graduates from all over America thought it worthwhile to take up residence. As it turns out, an amazing number of the best artists and writers of America seem to have been there at one time or another, to teach and learn, and their cumulative influence on American art in the last fifteen years has been immense. One has only to mention Franz Kline in reference to painting and Robert Creeley in reference to poetry to give an idea of Black Mountain's significance. They are key figures in the American vanguard, their influence everywhere. Black Mountain could be described as an "action university" in the sense in which the term is applied to the paintings of Kline et al. There were no examinations. There was no learning from ulterior motives. Students and teachers participated informally in the creative arts; every teacher was himself a practitioner -- poetry, music, painting, sculpture, dance, pure mathematics, pure physics, etc., -- of a very high order. In short, it was a situation constructed to inspire the free play of creativity in the individual and the group.

Unfortunately, it no longer exists. It closed in the early Fifties for economic reasons. It was a corporation (actually owned by the staff) which depended entirely on fees and charitable donations. In the highly competitive background of the United States of America such a gratuitous and flagrantly non-utilitarian institution was only kept alive for so long as it was by the sustained effort of the staff. In the end, it proved too ill-adapted to its habitat to survive.

In considering ways and means to establish our pilot projects, we have never lost sight of the fact that in a capitalist society any successful organization must be able to sustain itself in capitalist terms. The venture must pay. Thus we have conceived the idea of setting up a general agency to handle, as far as possible, all the work of the individuals associated with the university. Art, the products of all the expressive media of civilization, its applications in industrial and commercial design, all this is fantastically profitable (consider the Music Corporation of America). But, as in the world of science, it is not the creators themselves who reap most of the benefit. An agency founded by the creators themselves and operated by highly-paid professionals would be in an impregnable position. Such an agency, guided by the critical acumen of the artists themselves, could profitably harvest new cultural talent long before the purely professional agencies were aware it existed. Our own experience in the recognition of contemporary talent during the past fifteen years has provided us with evidence that is decisive. The first years would be the hardest. In time, granting that the agency functioned efficiently from the point of view of the individual artists represented by it, it would have first option on all new talent. This would happen not only because it would be likely to recognize that talent before its competitors, but because of the fact and fame of the university. It would be as though some ordinary agency were to spend 100 per cent on its profits on advertising itself. Other things being equal, why should a young writer, for example, not prefer to be handled by an agency controlled by his (better-known) peers, an agency which will apply whatever profit it makes out of him as an associate towards the extension of his influence and audience, an agency, finally, which at once offers him membership in the experimental university (which governs it) and all that that implies? And, before elaborating further on the economics of our project, it is perhaps time to describe briefly just what the membership does imply.

We envisage an international organization with branch universities near the capital cities of every country in the world. It will be autonomous, unpolitical, economically independent. Membership in one branch (as teacher or student) will entitle one to membership in all branches, and travel to and residence in foreign branches will be energetically encouraged. It will be the object of each branch university to participate in and "supercharge" the cultural life of the respective capital cit[ies] at the same time as it promotes cultural exchange internationally and functions in itself as a non-specialized experimental school and creative workshop. Resident professors will be themselves creators. The staff at each university will be purposively international; as far as practicable, the students also. Each branch of the spontaneous university will be the nucleus of an experimental town to which all kinds of people will be attracted for shorter or longer periods of time and from which, if we are successful, they will derive a renewed and infectious sense of life. We envisage an organization whose structure and mechanisms are infinitely elastic; we see it as the gradual crystallization of a regenerative cultural force, a perpetual brainwave, creative intelligence everywhere recognizing and affirming its own involvement.

It is impossible in the present context to describe in precise detail the day-to-day functioning of the university. In the first place, it is not possible for one individual writing a brief introductory essay [to do so]. The pilot project does not exist in the physical sense, and from the very beginning, like the Israeli kibbutzes, it must be a communal affair, tactics decided in situ, depending upon just what is available when. My associates and I during the past decade have been amazed at the possibilities arising out of the spontaneous interplay of ideas within a group in constructed situations. It is on the basis of such experiences that we have imagined an international experiment. Secondly, and consequently, any detailed preconceptions of my own would be so much excess baggage in the spontaneous generation of the group situation.

Nevertheless, it is possible to make a tentative outline of the economic structure.

We envisage a limited liability company (International Cultural Enterprises Ltd) whose profits are invested in expansion and research. Its income will derive from:

1 -- Commissions earned by the Agency on sales of all original work of the associates.

2 -- Money earned from "patents" or by subsidiaries exploiting applications (industrial and commercial) evolving out of "pure studies." Anyone who has spent time in an art workshop will know what I mean. The field is unlimited, ranging from publishing to interior decorating.

3 -- Retail income. The university will house a "living museum," perhaps a fine restaurant. A showroom will be rented in the city for retail and as an advertisement.

4 -- Such income as derives from "shows," cinematic, theatrical or situationist.

5 -- fees.

6 -- Subsidies, gifts, etc., which in no way threaten the autonomy of the project.

The cultural possibilities of this movement are immense and the time is ripe for it. The world is awfully near the brink of disaster. Scientists, artists, teachers, creative men of goodwill everywhere are in suspense. Waiting. Remembering that it is our kind even now who operate, if they don't control, the grids of expression, we should have no difficulty in recognizing the spontaneous university as the possible detonator of the invisible insurrection.

read the sequel: SIGMA

Towers Open Fire

STEWART HOME ON ALEXANDER TROCCHI

kapitein van je eigen welzijn

2008-12-29T01:47:00.004+01:00

in tedere tranen rijgt de waterkraan haar bestaan aan elkaar
het klinkend objectief weerspiegelt zich in mensenogen _al generaties lang
hoe zorgzaam de wereld lijkt te barsten in barensweeën vol van zichzelf
opnieuw en opnieuw hemeltergende zelfreflectie in de poelen des doods
zwarte gaten waarmee je doorheen tijd en ruimte kunt reizen
zevenmijlslaarzen aan de kant van het leven jouw leven mijn leven ons leven
spiegelend zweven tussen reëel en irrationeel onder de armen door kloppend vrij
pompend stuwend stuwmeer bakboord kapitein

GOOD VIBRATIONS

2008-12-28T14:40:00.001+01:00

T-ford blushes green....

2008-12-20T14:32:00.001+01:00

Home Fraser: The illusion of progress in the drug war

2008-12-10T14:40:00.001+01:00

Advertised as an effective drug control policy, America's harsh drug laws only give the illusion of progress. Two recent reports show, once again, that the arrest and incarceration of hundreds of thousands of nonviolent adult drug offenders have done little to stem the use and trafficking of illicit drugs.

Drug Use. A senior fellow at the George Mason University School of Public Policy, Dr. Jon Gettman's recent study, Consistent, Persistent and Resistant, Marijuana Use in the United States - funded by the Marijuana Policy Project Foundation - finds that the "Bush Administration anti-drug policies have been unsuccessful in reducing the demand for and use of marijuana and other illegal drugs."

Further, Gettman reports, the government's own Office of National Drug Control Policy (ONDCP) did not come close to reaching its recent goal: the reduction in the use of illicit drugs among adults 18 years and older by 25 percent between 2002 and 2007. After five years of effort and many millions of tax dollars, illicit drug use among adults declined by less than one percent.

Of the six tax-funded programs designed by the ONDCP to reach its 25 percent reduction goal, the Bush Administration's Office of Management and Budget found that only one program rated an "adequate" grade. The other five were rated "ineffective" or "results-not-demonstrated."

Drug Trafficking. In its new report, Correcting Course: Lessons from the 1970 Repeal of Mandatory Minimums, the Washington advocacy organization, Families Against Mandatory Minimums, finds that, to date, "No conclusive studies demonstrate any positive impact of federal mandatory minimum sentences on the rate at which drugs are being manufactured, imported, and trafficked throughout the country."

The U.S. Congress first enacted mandatory sentences for drug offenses in 1951 only to repeal the law in 1970 because it was not reducing drug use. Then, in 1986, the Congress set new mandatory sentences aimed at locking up big-time drug traffickers and, in 1988, expanded the law to apply to simple possession of crack cocaine.

By 2008, more than one-half of the 200,000 federal prisoners were serving time for drug offenses. But instead of filling federal prisons with drug kingpins, 66 percent of crack cocaine offenders in 2005 were low-level street dealers, lookouts and couriers and only 33 percent were higher-level suppliers. Instead of ending the drug war, mandatory sentences promise to keep prisons full of nonviolent, low level offenders, while drug use continues unabated.

Setting goals in the absence of any reasonable means to achieve those goals is plain dumb, except in Washington. Perhaps the non-performing drug war programs are not really expected to deliver on their publicly stated goals, but continue because they serve a very different purpose. They give the politically useful illusion of "controlling" crime and allow morally righteous members of society to impose their values on the actions of others.

Instead of ending the drug war, each year Washington drug warriors issue a new round of optimistic forecasts to keep the illusion alive, to justify another round of funding from American taxpayers.

In the absence of a strategy that can both win the drug war and pass Constitutional and affordability tests, police departments, prison operators and hundreds of thousands of prison guards keep themselves busy wasting money on non-performing programs and arresting more low level drug offenders.

Forget pie-in-the-sky government promises that build false expectations. When the toughest action governments can take to change individual behavior - sending its citizens to prison - doesn't work, it is time to try another approach. Building more prisons will not reduce drug use in America. Instead, across America, let's build thousands of down-to-earth education and health programs that can actually help individuals in your hometown and mine make informed life-style choices.

Ronald Fraser, Ph.D., writes on public policy issues for the DKT Liberty Project, a Washington-based civil liberties organization. Write him at fraserr@erols.com.

BAND OF HOLY JOY

2008-12-08T12:47:00.003+01:00

For years when the drunken boat was closed for the desolate months the crew would hole up in whatever North Eastern port would still have them and the vessel would float alone, occasionally overseen by a passing spirit in that time of course the natives of the coastline could talk of nothing but... a ghostly folklore springing up around the boat and the noises, signals and lights emanating, a sound and a lore that would echo for years to come. Everyone knew the Drunken Boat was haunted by the many distracted, diseased and devalued characters that had passed through the boat over the years, and that the building attracted the dearly departed from all over the planet, as if this is some spectral cruise vacation for the depraved, the devious and the deluded. IT'S SOME PLACE TO BE! static cut by signal overseen by Cass and Godard and Presley and such...blessed noise bursting through stagnant silence like a full moon on a storm ridden night as we look towards the perishing shoreline, THE ONLY PLACE TO BE, whispers and shouts a collage of fears dreams visions memories and whatever else, we attempt to antithesize, archive, articulate, arrive at something....often nothing.... EUROPE DROWNS, the Drunken Boat sails on...

yea... NIGHTS LIKE THESE the ship sails on and long may our haunting reputation faithfully continue, these are some of the sounds that saw us through tonight...

BAND OF HOLY JOY

Fotoplastikon - Technological Landscape

2008-12-07T19:35:00.002+01:00

Royksopp - Remind Me

Concerto D´aranjuez - Nicolas De Angelis

2008-12-04T19:14:00.000+01:00

Relaxing Music • Música Relajante - [05]

2008-12-04T14:29:00.000+01:00

Ervin László

2008-12-03T13:20:00.002+01:00

U en ik zijn vlinders die de wereld kunnen veranderen

In onze geschiedenis zijn er altijd mensen geweest met een belangrijke boodschap voor de tijd waarin ze leefden. Neem Mahatma Gandhi of Martin Luther King. Mensen die geloofden in een vreedzame wereld en daar het toonbeeld van waren. Dr. Ervin Laszlo is ook zo iemand. Als baanbrekend wetenschapper probeert hij aan te tonen dat het heelal een levend en samenhangend geheel is. Met zijn 75 jaar reist hij onvermoeibaar de wereld over met de boodschap waarom het NU het moment is om te kiezen voor een nieuwe wereld. Tessa Koop interviewde Ervin Lazlo.

Dr. Ervin Laszlo is geen optimist. Steevast bij iedere lezing die hij wereldwijd houdt, schetst hij eerst een somber beeld van de wereld. Zo ook tijdens De Dag van het Ethisch Beleggen op 8 november 2007 in het Koninklijk Instituut voor de Tropen (KIT) in Amsterdam, waar de ASN Bank hem heeft gevraagd te spreken. Naast een groei in de kloof tussen arm en rijk, signaleert hij een catastrofale klimaatverandering mede als gevolg van milieuvervuiling. Laszlo: “Er zijn nu 6,7 miljard mensen op aarde, in 2050 zijn dat er 9 miljard. Onze planeet kan dat niet aan. De wereld is nu warmer dan hij in de laatste miljoen jaar is geweest.”

Wees een ‘possibilist’

Voorafgaand aan zijn lezing mag ik hem interviewen. Dan blijkt hoe positief hij is en volop kansen ziet hoe wij het tij kunnen keren. “Dat is wat anders dan ‘optimistisch’ zijn,” zegt hij gedecideerd. “Als je als optimist gelooft dat dit een goede wereld is, dan is de pessimist bang dat de optimist gelijk heeft. Je moet een ‘possibilist’ en een activist zijn, want die zegt: ‘We hebben een kans en het ergste wat je kunt doen is niets.” Waarom is juist deze tijd een uitgelezen kans voor verandering? “Wanneer je een stabiel systeem hebt, verandert er niks. Als je wilt vernieuwen in een stabiel systeem, beland je in de gevangenis, je wordt buitengesloten of onderdrukt. Wereldwijd hebben we een punt van instabiliteit bereikt en dus de mogelijkheid iets nieuws te creëren.”

Een ruimer bewustzijn is de oplossing

Laszlo wordt gezien als grondlegger van het systeemdenken. Als wetenschapper probeert hij te verklaren dat alles met elkaar verbonden is. Volgens hem ligt in dit bewustzijn de oplossing voor de toekomst: “Einstein zei dat problemen niet kunnen worden opgelost op hetzelfde denkniveau als waarmee we ze hebben gecreëerd. Wat we nodig hebben is ‘global thinking’.” Dit betekent dat we onze overtuigingen moeten veranderen, daaruit vloeien onze gedragingen voort. “Dat is makkelijker dan overheden en bedrijfsleven te laten veranderen. Bedrijven volgen ook vanzelf met duurzaam ondernemen als er een markt voor is. Overheden zijn altijd volgers van maatschappelijke ontwikkelingen.”

Irene von Lippe-Biesterfeld, goede vriendin van Laszlo, komt deze dag ook langs om naar de Hongaarse wetenschapsfilosoof te luisteren. Zij is lid van de Club van Boedapest, waar Laszlo de oprichter van is. Met dit internationale gezelschap – bestaande uit ondermeer wetenschappers, kunstenaars en leiders – wordt hard gewerkt aan bewustzijnverandering, voor een nieuwe, duurzame wereld. “Ik heb bijzonder veel bewondering voor deze man,” laat ze weten als ik eventjes met haar praat. Daar sluit ik me bij aan.

Als ik aan Laszlo wordt voorgesteld, valt me op hoe klein en fragiel hij is. 75 jaar, maar onvermoeibaar en gedreven. Alsof er geen tijd te verliezen is. Even maak ik het vergelijk met Gandhi, fragiel maar net zo onvermoeibaar tijdens zijn vredesmarsen. Ook hun boodschap komt overeen: wees zelf de verandering die je in de wereld wilt zien.

De opkomst van een nieuwe subcultuur

Laszlo is blij dat dit overal in de wereld al zichtbaar is: “Nieuw bewustzijn, nieuwe waarden, nieuwe ethiek. Dit gebeurt allemaal op dit moment. Denk aan ethisch investeren, zoals de ASN Bank doet. Maar je ziet de laatste 10, 15 jaar ook een toename van bewustzijn aan zowel de kant van investeerders als bedrijven. Ook in de samenlevingen over de hele wereld zijn veel vredesbewegingen zichtbaar. Mensen richten samenwerkingsverbanden op om terrorisme, geweld en oorlogen tegen te gaan. Niet door meer oorlogen te voeren maar door opbouwende dialogen en het besef dat we samen de problemen op moeten lossen.”

Ook noemt Laszlo wereldwijd de opkomst van een nieuwe subcultuur: de Cultural Creatives. Inmiddels blijkt één op de vier Nederlanders tot deze groep te behoren. Moderne mensen, met beide benen in de samenleving, die allen afstand doen van de heersende cultuur van haast, geld en productiviteit. Zij kiezen voor zingeving, staan open voor een ruimere blik op de werkelijkheid en maken zich zorgen over de toekomst van de aarde. Maar blijven wel positief en stemmen daar hun denken, doen en handelen op af.

‘U en ik zijn vlinders’

“Op dit moment is deze groep nog niet groot genoeg, maar we weten ook dat als je een situatie van chaos hebt, het ‘vlindereffect’ ontstaat.” Hierover schrijft Laszlo uitgebreid in zijn laatste boek Het Chaospunt. Hij licht toe: “Als bijvoorbeeld een samenleving het chaospunt bereikt, wordt deze extreem gevoelig voor kleine schommelingen, zoals verandering van bewustzijn, waarden en ideeën. Eén vlinder hoeft maar met haar vleugels te slaan om een groot omslagpunt te bewerkstelligen. Politiek, economisch, sociaal, de hele situatie is momenteel onstabiel. Dus onder deze omstandigheden kan een kleine groep veel invloed hebben. U en ik zijn vlinders die de wereld kunnen veranderen.”

Hoe zit het dan met de macht van landen, zoals Amerika en China? Zij zullen hun expansiedrift niet zomaar opgeven. “Vroeg of laat wel. Punt is alleen dat als je te lang wacht, het punt van onomkeerbaarheid ontstaat. Toch zijn er al bewegingen richting een nieuwe politiek. In Amerika krijgen we dit jaar de verkiezingen. Opmerkelijke kandidaat was Dennis Kucinich. Deze democraat wil bijvoorbeeld een Ministerie van Vrede oprichten. Hij wordt dan wel niet verkozen, maar zijn ideeën winnen aan populariteit. In China zijn er veel intellectuelen die druk uitoefenen voor veranderingen en in India is de hindoestaanse cultuur diep geworteld, wat ook kansen biedt. Dus als er genoeg verandering is in de samenleving, zijn er voldoende mogelijkheden. De economie en politici zullen reageren.”

Eenheidsdenken

Denken vanuit eenheid klinkt logisch, waar is het mis gegaan? “Daar zijn begrijpelijke redenen voor,” aldus Laszlo. “Als we terugblikken op de menselijke geschiedenis, zijn bijna alle culturen gebaseerd op verbondenheid met elkaar, de natuur en de kosmos. In Oosterse- maar ook in Westerse tradities. Zo was het vroege christendom – de Hermetische Filosofie - erg anders. Je zou kunnen zeggen dat mensen het gevoel hadden dat ze met elkaar verbonden waren. Tot 400 jaar geleden de moderne wetenschap ontstond. Dat betekent vooral dat iets alleen waar kan zijn als het waargenomen kan worden. Kosmoloog Giordano Bruno (1548-1600) was door de Inquisitie in Rome tot de brandstapel veroordeeld, omdat hij zei dat het universum oneindig is en we er allemaal deel van uit maken.”

“Mensen zoals Isaac Newton, Galileo Galilei (vader van de moderne astronomie) en Bruno waren diep spirituele mensen, maar het enige deel van hun werk dat door de samenleving werd geaccepteerd was het technische, mechanische deel. De wereld, de mens en het universum als mechanisme werd het heersende wereldbeeld. Het heeft de weg vrijgemaakt voor de technologische revolutie in de 17e eeuw. Prachtige uitvindingen werden gedaan, zoals de ontdekking van de kracht van stoom. Het heeft ons veel gebracht, maar denken ‘in losse machineonderdelen’ is ook zeer gevaarlijk. Er was een leuke slogan in de jaren ’60 in Amerika: ‘Technology is the answer. But what is the question?’ We moeten nu andere vragen stellen. Dit paradigma is op zijn retour. We verwoesten de natuur, onszelf en elkaar.”

Global Shift University

Gedreven door de kosmische visie van zijn voorgangers, probeert Laszlo hun werk - aangevuld met nieuwe wetenschappelijke inzichten - opnieuw voor het voetlicht te brengen. Door erover te schrijven (o.a. ‘Bezielde Kosmos’ en ‘Kosmische Visie’), door er wereldwijd over te spreken, zoals in het KIT, maar vanaf dit najaar ook door erover te onderwijzen in de Global Shift University (GSU), die dit najaar haar deuren opent in Connecticut, vlak naast Yale University, waar hij gastdocent is. Laszlo: “Het herinneren van deze kennis ligt allemaal vlak onder het niveau van publiek bewustzijn. Het moet doorbreken. Dat probeer ik met de Club van Boedapest, maar dit najaar ook met de GSU. Daar ben ik trots op, want vijf of tien jaar geleden was dit ondenkbaar geweest.”

Dan legt Laszlo zijn allerbelangrijkste basistheorie uit. Hij noemt dat ook wel ‘de theorie van alles’. Dus wat niet alleen betrekking heeft op het stoffelijke heelal, maar ook op het leven en het denken zelf. “Eén van de grootste misvattingen uit de klassieke natuurkunde is dat ‘ruimte’ zonder materie (atomen en moleculen) leeg is. Einstein heeft een zeer belangrijke stap gezet door tijd en ruimte te integreren in zijn relativiteitstheorie. Maar wat de laatste 40 jaar wetenschappelijk wordt aangetoond, is dat ruimte nooit vrij van energie is. Dit wordt ook wel vrije energie of nulpuntenergie genoemd. Alles is gebaseerd op een bepaalde vorm van resonantie. Deze frequentie of trilling ontvangt en bevat informatie. Alles is informatie.”

Het Akasha-veld

In zijn boek Kosmische Visie spreekt Laszlo in dit verband over het Akashaveld, het allesomvattende bewustzijn of ook wel ‘het geheugen van de kosmos’ genoemd. Alles wat ooit heeft plaatsgevonden, ligt in dat levende web van informatie opgeslagen. Het bestuurt het totale proces van evolutie. In het Oosten wordt vanuit intuïtie en een innerlijk weten al duizenden jaren over het A-veld gesproken, nu wordt het ook wetenschappelijk aangetoond. Volgens Laszlo kan dit herontdekte inzicht de hele wereld veranderen.

Kunt u dat uitleggen? “Oude overtuigingen passend bij het mechanistische denken zijn bijvoorbeeld: we zijn allemaal afzonderlijke individuen, er is niet genoeg van alles, het leven is een strijd en alleen de sterkste overleven, de natuur is onuitputtelijk en de weg naar vrede loopt via oorlog. Als we denken vanuit eenheid en onze oude denkpatronen veranderen, verandert vanzelf onze manier van doen.”

Denkt u dat dit mogelijk is voor mensen? Het lijkt wel alsof we van nature expansionistisch en hebzuchtig zijn. “Expansiedrift, dominantie en zoeken naar macht is doorgaans iets wat meer wordt geassocieerd met mannen. Vrouwen zijn meer georiënteerd op familie en de gemeenschap en leven meer in balans met de natuur. De gelijke bijdrage van vrouwen is een cruciale factor voor het succes van een samenleving.”

Energie en materie

Volgens Laszlo is één van de grootste problemen op dit moment hoe er nu met energie wordt omgegaan. “Onze aarde is een planeet. Dat betekent dat we openstaan voor energie van buitenaf, maar gesloten zijn voor materie. We moeten de energie gebruiken die binnenkomt, denk bijvoorbeeld aan zonne-energie. En de materie moeten we recyclen, want er komt van buitenaf geen nieuwe binnen. Als we op 1,5 procent van de Sahara zonnepanelen neerzetten, zouden we daar genoeg energie uit kunnen halen voor heel West-Europa. Waarom dat nog niet is gebeurd? Er is veel te weinig internationale samenwerking. Uiteindelijk kiezen overheden en bedrijven toch weer voor korte termijn belang. Ander punt is, ik wil geen namen noemen, maar je weet dat zeer grote, invloedrijke firma’s patenten opkopen om zo tegen te houden dat ze geïmplementeerd worden.”

U heeft vast wel eens van vrije energie gehoord. Is dat niet de toekomst? “Ja, maar de technologische vraag is: hoe win je dat? Tot voor kort – want er zijn wat doorbraken – moeten we er net zoveel energie instoppen, dan eruit komt. Dus het levert geen winst op. Als dit uiteindelijk lukt zal dat heel waardevol zijn voor ruimtereizen. Want in de ruimte is er geen energiebron, behalve de ruimte zelf. Op dit moment zie ik toch het beste alternatief in de energie die naar ons toekomt van de zon. Omdat met een hele kleine fractie – 1% - al aan de behoefte van de mensheid kan worden voldaan.”

Aarde en kosmos

U noemt het heelal een levend en samenhangend geheel. Gelooft u ook in het bestaan van leven op andere planeten? “Mijn theorie zou dit inderdaad bevestigen. Het is zeer aannemelijk dat er leven bestaat op vele plaatsen in het universum. Wij kennen maar iets van 200 planeten binnen onze galaxy, maar er zijn er natuurlijk veel meer. Waarom zouden wij moeten denken dat alleen de aarde zo speciaal is? Ik denk dat de aarde best speciaal is, maar niet uniek in onze kosmos.”

Hoeveel tijd denkt u dat we nog hebben om onze geschiedenis te bepalen? “Niet veel. Ik denk een jaar of vijf. Daarom is het belangrijk dat we ons massaal besluiten in te zetten voor harmonie, samenwerking en een leefbare samenleving. Dus stap af van oude ideeën, die niet langer deugen, bijvoorbeeld dat de natuur onuitputtelijk is. Neem je eigen dromen serieus. Ontwikkel je eigen bewustzijn door je eens vaker naar binnen te richten. Er zal zich nooit een nieuw hoofdstuk in onze wereldgeschiedenis aandienen als we blijven wachten.”

Auteur Tessa Koop www.ipmmedia.nl

Tessa Koop (1977) werkt sinds 2000 werk als journaliste. Eerst ruim 5 jaar bij de lokale nieuwsbladengroep Weekmedia, en in 2005 zelfstandig met het tekstbureau Inspire People Media (IPM). Ze probeert via IPM vooral een ruimere blik op de werkelijkheid te bieden. Artikel is eerder geplaatst in Frontier Magazine (maart/april 2008)

The Mystery of 2012 – Predictions, Prophecies & Possibilities by Gregg Braden, Peter Russell, Daniel Pinchbeck, Geoff Stray, John Major Jenkins By Cheryl Shainmark	Email this article Printer friendly page target="_blank"
An edited anthology of contributions on the subject from the great thinkers of our time, from Sounds True. Authors' bios can be found below the article.
Oct 8, 2007

This book is amazing – the best of ancient wisdom and prophesy combined with intelligent predictions and marching orders for the future. This book has got it all – the personal, the global, the best of the shift and the worst of the shift – with 26 of the leading visionary thinkers of our time giving us their thoughts on a wide range of topics. If December 21, 2012 is the most talked about date on the calendar right now, then The Mystery of 2012 is destined to be the most talked about book of the year – or next five years!

Kudos to Tami Simon and the publisher, Sounds True, for gathering this fascinating anthology covering what Ms. Simon calls “a time of unprecedented and accelerated planetary change.” The list of contributing authors is impressive -- Gregg Braden, Jose Arguelles, Jean Houston, Ervin Lazlo, Barbara Marx Hubbard and many other leaders of their fields give us facts, theories and visions from many diverse viewpoints. From the opening chapters, which distinguish what is fact from the Mayan tradition versus what is “New Age” add-ons, through comparisons to what other ancient traditions have to say about this time period, followed by a survey of how this all impacts us in the modern world, this book is comprehensive.

The Mystery of 2012 walks a fine line between what is visionary and what is realistic -- all without crossing over into apocalyptic, catastrophic or alarmist thinking. Still, there is no “Pollyanna” or head-in-the-sand blindness here, just a level-headed assessment of what is going on in a variety of areas such as politics, the environment, economics, science, medicine and more, what are the foreseeable consequences if we don’t act, and what are the practical choices we can make to improve the future.

The keyword here is “choices.” As Ervin Lazlo puts it, “We are living in the opening phases of a period of social and ecological instability – at a crucial decision-window.” There are no surprises here – in every arena of life our current systems are unsustainable and unstable, our corporations are focused on profit at all costs and our governments are inciting conflict, violence and chaos.

Yet, the main message of this book is one of optimism -- that the choices we make in the next few years are vital to the outcome, but that we are able to rise to the occasion. The rise of the Internet and our increasing global interconnectedness speak to an evolution of consciousness that bodes well – as do the increasing number of people who are becoming more psychic, multi-dimensional and wiser in their thinking. Many of the authors liken what’s happening now to a great awakening that will spur more ethical and moral choices at the personal, communal and global levels – and all the authors outline and inspire action in realistic ways. If you have been doing nothing because the idea of changing or saving our world seems too big or overwhelming for one person, then The Mystery of 2012 will change your mind, inspire hope and give you concrete ideas for what to do.

Ervin László

The Institute at GlobalShift University™ is an innovative, non-traditional university for people who want to become positivechange agents and effective leaders in a transformed world. GSU will offer undergraduate and graduate degrees inSustainable Transformation, based upon a powerful, newly developed curriculum called MacroShift Studies. Students successfully completing the course of study will be able to work effectively towards the solution of the world’s most vexing and universal problems, those undermining the attainment and sustainability of productive, happy and healthy human life, ecological equilibrium and world peace.

GLOBAL SHIFT UNIVERSITY

Prophecy

2008-12-02T20:57:00.002+01:00

PROPHECY

Werner van de Vrede

2008-12-02T18:06:00.001+01:00

Werner van de Vrede

2,700-year-old marijuana found in Chinese tomb

2008-11-29T12:48:00.000+01:00

Stash seems to have been intended for buried shaman to use in the afterlife

Dean Beeby
THE CANADIAN PRESS

OTTAWA – Researchers say they have located the world's oldest stash of marijuana, in a tomb in a remote part of China.

The cache of cannabis is about 2,700 years old and was clearly ``cultivated for psychoactive purposes," rather than as fibre for clothing or as food, says a research paper in the Journal of Experimental Botany.

The 789 grams of dried cannabis was buried alongside a light-haired, blue-eyed Caucasian man, likely a shaman of the Gushi culture, near Turpan in northwestern China.

The extremely dry conditions and alkaline soil acted as preservatives, allowing a team of scientists to carefully analyze the stash, which still looked green though it had lost its distinctive odour.

"To our knowledge, these investigations provide the oldest documentation of cannabis as a pharmacologically active agent," says the newly published paper, whose lead author was American neurologist Dr. Ethan B. Russo.

Remnants of cannabis have been found in ancient Egypt and other sites, and the substance has been referred to by authors such as the Greek historian Herodotus. But the tomb stash is the oldest so far that could be thoroughly tested for its properties.

The 18 researchers, most of them based in China, subjected the cannabis to a battery of tests, including carbon dating and genetic analysis. Scientists also tried to germinate 100 of the seeds found in the cache, without success.

The marijuana was found to have a relatively high content of THC, the main active ingredient in cannabis, but the sample was too old to determine a precise percentage.

Researchers also could not determine whether the cannabis was smoked or ingested, as there were no pipes or other clues in the tomb of the shaman, who was about 45 years old.

The large cache was contained in a leather basket and in a wooden bowl, and was likely meant to be used by the shaman in the afterlife.

"This materially is unequivocally cannabis, and no material has previously had this degree of analysis possible," Russo said in an interview from Missoula, Mont.

"It was common practice in burials to provide materials needed for the afterlife. No hemp or seeds were provided for fabric or food. Rather, cannabis as medicine or for visionary purposes was supplied."

The tomb also contained bridles, archery equipment and a harp, confirming the man's high social standing.

Russo is a full-time consultant with GW Pharmaceuticals, which makes Sativex, a cannabis-based medicine approved in Canada for pain linked to multiple sclerosis and cancer.

The company operates a cannabis-testing laboratory at a secret location in southern England to monitor crop quality for producing Sativex, and allowed Russo use of the facility for tests on 11 grams of the tomb cannabis.

Researchers needed about 10 months to cut red tape barring the transfer of the cannabis to England from China, Russo said.

The inter-disciplinary study was published this week by the British-based botany journal, which uses independent reviewers to ensure the accuracy and objectivity of all submitted papers.

The substance has been found in two of the 500 Gushi tombs excavated so far in northwestern China, indicating that cannabis was either restricted for use by a few individuals or was administered as a medicine to others through shamans, Russo said.

"It certainly does indicate that cannabis has been used by man for a variety of purposes for thousands of years."

Russo, who had a neurology practice for 20 years, has previously published studies examining the history of cannabis.

"I hope we can avoid some of the political liabilities of the issue," he said, referring to his latest paper.

The region of China where the tomb is located, Xinjiang, is considered an original source of many cannabis strains worldwide.

ALL MIRACLES WILL HAPPEN

2008-11-28T16:32:00.001+01:00

ALL MIRACLES WILL HAPPEN°
we are jazz
we are death
beyond death
upon death
sky-lightened angels
whispering fear
is an illusion

we are a mental state
we are an elemental state
of mind of body of soul
off course in control
of NO CONTROL sanctuarum
our bodies do not rest
in thinking we are listening

the universe is sound
nada prama the sacred source
we are the sound
death has already become
it doesn't rhyme
it doesn't ring
but it might well be the best way to swing....

SFP
a Stress Free Poet

°I sent this poem to Louise, so she knows.

don't wait for 'them' to do it for you: DO IT YOURSELF

2008-11-28T16:14:00.003+01:00

they got a name
them got a state
they got a gouvernement
they got an identity
they got an idea
YET THEY CANT DO SHIT

they got a proposition
them got a deal
they got one especially for you
they can build burrocracy
enter shame _give the child a name _try to train it's brain
YET THEY CANT DO SHIT

awaiting their wind of solace
amidst the storm
with cheaky eyes
heavenly bodies
conjure upon a better world

who doesn't know
this feeling
this eternal poem
amidst all the ups and downs
up the alley of life _ain't just a pimpers paradise°
ITS TIME TO OPEN YOUR EYES

to re-awaken the promise
to re-enlighten
deep within you
the eyes of Spirit
all within and around you
the chemistry of Love

Your SFP
Amsterdam 21.11.2008

(°EVERY NEED GOT AN EGO TO FEED)

PITSTOP POWEZIE (tekst voorgedragen op het WK poëzie 2008)

2008-11-28T15:58:00.004+01:00

fietsen worden verwijderd
staat op een vaal bord te lezen
het gouden koren glimlacht
de lichtjes glinsteren
overal in de spiegelende regen

PITSTOP POWEZIE

de powezie is overal
met een stuk in je kraag
in je sjaal een warm onthaal
in je schoenen krakend temidden
de kleurige herfstbladeren

ze kan buitelen en tuimelen
als de Wind buiten binnen
binnen buiten binnen
in je innerlijk Kind

stapje voor stapje
trapje voor trapje
schopje voor schop-je
de welderige herfst voor je uit
een ander seizoen weer in
het éne weer uit
over rollende kolkende
regenton en de zilten zon
powezie hier ziet men
mij ni

ik speel ik dans en zing mezelf weg
hé schrijverken schrijf
vliegensvlug desnoods metershoog
DE POWEZIE IS OVERAL
kijk dan mee voorbij het eskadron
kille kadavers in je hart
voorbij pijn en smart
woedt een oorlog in eigen wezen:
verlaten en angstig met zichzelf praten
is toegelaten

beter evenwel
richtingwijzer wezen
met sterke schouders te leen
360° multidimensioneel
mens universeel mens
met attente ogen overal
zoekend spiedend verkennend
herkennend erkennend
een gouden wezen
in jezelf
met gouden Hart
dwars door alles heen

powezie is overal

en jij?
jij bent al thuis!

geschreven in ronkende alfa
met Frans Vlinderman aan het stuur
ON THE ROAD van Antwerpen richting Amsterdam
21 november 2008

Tekst geschreven voor mijn voordracht ter opening van de CULTUURWEEK te Zoersel 10.11.2008

2008-11-28T14:27:00.008+01:00

OORLOG EN VREDE
nog steeds hetzelfde heden
immer hetzelfde heden

grijze wolken lichten over Amsterdam
géén uur geleden was ik nog in coffeeshop Picasso
géén twee uur geleden was ik nog in Zaal 100 met Aja Waalwijk
géén drie uur geleden en ik stond koffie te slurpen met Herman J. Claeys en andere grootmeesters in de kerk van Ruigoord aan de toog

ook de grijze wolken kunnen zo mooi zijn
onze trein schuifelt door de buitenwijken van Amsterdam

ik ben een culturele vrijhaven op reis
geboren uit het oog der Anderen
geboren in het hart van elkeen
én al wat ik zie zijn eilanden van vrede

HET CENTRUM VAN DE WERELD LIGT OVERAL

deze middag danste ik nog 'al wandelend' om een vier-, vijfmetershoge totem heen
door de modder en de plassen en de regen en het springerige gras heen
rondom de houten totem van culturele vrijhaven Ruigoord
ook in Christiana Denemarken staat er één
zo verenigen culturele vrijhavens zich
plaatsen vrijplaatsen waar mensen met elkaar omgaan
op een liefdevolle en respectvolle wijze
waar mensen elkaar aanmoedigen i.p.v. ontmoedigen
waar mensen zich vrij mogen uitleven
zolang zij daar geen anderen mee schaden

als regenbogen glinsterend
in elke druppel der Zeeën
zie ik overal om mij heen
eilanden van vrede ontstaan

tranen om de doden is geen schande
er is geen schande
er hoeft ook nooit schaamte te zijn
om te zijn wie je bent
om te doen wat natuurlijk is

schaamte is een illusie
oorlog evenwel niet
te beginnen bij jezelf:
opkomend innerlijk vuur
opreizend innerlijk uur

Het is herfst
de dagen korten
zelfs temidden de duisternis
is er Licht te over
HOOR MET JE VOETEN
VOEL MET JE NEUS
verken je zelf
erken je zelf
herken je zelf
in je zelf in de andere
groen licht om jezelf te veranderen
in beweging!
GET RHYT HM WHEN YOU GOT THE BLUES
the shoeshine boy sings

en de 'shoeshine boy'
is nu president van Amerika
god zij dank
niets per toeval
we leven elke dag in een nieuwe wereld
kijk maar eens goed om je heen:
eilanden van vrede
vredeseilanden overal om je heen
plaatsen van energie

de Heilige Graal met je niet zoeken
de Heilige Graal dat ben je zelf

bloed druipt om het Irakese kinderlijfje heen
een doek doorbloed
bloed druipt
verstrengeld zich met de tranen van een Amerikaans soldaat
twee harten die gelijktijdig
stil komen te staan
midden in de roos van de Leegte
waar huidskleur geen rol meer speelt
waar een identiteitskaart geen nut meer heeft
waar kogels je niet meer raken kunnen

een fotograaf drukt af
alsof het Niets is
alles in een flits
de flits-realiteit zo je wil
maar soms weet een mens
wat hij doet
en heeft hij geuk
en doet het goed

in alle abstractie
wordt voorgaand beeld
onsterfelijk
en gaat het universum rond
zo belandde het
op de mat van mijn voordeur
in de krant

O wat flipt mijn geest
O wat knetteren mijn ogen
in barstende tranen
over deze foto in de Morgen
dagen maandenlang
loop ik te vechten met dít doek

hangend in mijn atelier

dit braakliggend wit landschap
geurig als terpentijn
dit kleurige venijn
dit mengen der vakken
dit abstract geometrisch
afvlakken

Hoe kan zulk bloederig tafereel
toch tot Stof en Vorm vergaan????

Wat is nog van Waarde
op deze waanzinnige Aarde?

Mijn kleine oorlog op doek
een lokroep vanuit de uithoeken van ons universum
het éne gevecht is het andere niet
"know how to pick your fight"
zeggen Amerikanen al wel eens
mijn variant?
KNOW HOW TO PICK YOUR FLIGHT

met wat fantasie vliegen we
net daarheen waar we zelf graag zouden willen zijn
niets is onmogelijk!
ALL MIRACLES WILL HAPPEN
schrijft Louise Landes-Levi me
uit de Verenigde Staten
erbij vermeldend dat ze de week ervoren
in het Verenigd Koninkrijk werd gefouilleerd
"and mugshotted" en vingerafdrukken moest achterlaten
en haar misdaad?

6 avonden poëzie voordragen
mét vrienden
en behoorlijk kindvriendelijke geluidsopnames

het front ligt ook aan huis
dààr waar je thuis bent

een kunstenaar vraagt zich af
ZAL DE MENS OOIT BIJLEREN?
zelfs dieren lijken soms meer attent
en oprecht

deze situatie
afreageren
kan dus
met verf met pen en papier
als levend theater
als een ongeschreven poëzie
alomtegenwoordig
huilend gierend
door alle werkelijkheid heen
een oneindig liefdevol gedicht
dwars door alles en iedereen en
alle levende wezens heen
heen heen heen door alle dode materie
heen
gedoemd tot de onsterfelijkheid

ken geen angst
koester geen hoop
wees vrij
WIL WAT JE WIL
er is géén kogel die alle levens tegelijk moorden kan
er is géén atoombom die alle dimensies wegvegen kan
er is géén dictator die ooit niet ten val komt

ni dieu ni maître
zowel in het kleine
als in het grote
laat het creatieve kind
in je Zelf vrij
hou jezelf niet langer gegijzeld in de banvloek
der jaloezie of wraak
HAAL JE ZELF VAN DE HAAK
STOF JEZELF AF
HERNIEUW JEZELF ELKE DAG
MAAK VAN JEZELF EEN LEVEND MIRAKEL
zoek de scène niet ergens
anders of buiten jezelf
CREATE YOUR OWN SCENE

(ademen is al werk genoeg
uitermate belangrijk werk zelfs)

verdrijf je demonen
kelder je woede
maak een einde aan de oorlog
in je eigen bestaan
sta op en neem je verantwoordelijkheid als mens
DIEN DOOR TE HEERSEN
HEERS DOOR TE DIENEN
alles in relatie tot een ander
alles met inlevingsvermogen

jij mag het Wonder zijn
SCHITTER DAN ALS EEN WONDER

breng Licht temidden de duisternis
wees vederlicht waar anderen zwaarmoedig zijn
respecteer jezelf
aanvaard én gebruik
je kracht en talenten
stel jezelf ten dienste van anderen
heers waar nodig
wijs hen de richting
die het spoor bijster
of de weg 'kwijt' zijn

met elke oorlog
voor ieder spikkeltje bloed
is er wel iemand die iets bijleert
iemand die iets van het grotere geheel doorziet

vergankelijkheid en kennis
zijn twee onlosmakelijk verbonden begrippen
JE EIGEN VERGANKELIJKHEID ONDERSCHEIDEN
TEMIDDEN JE EIGEN ONSTERFELIJKHEID
behoort nu eenmaal tot het levensspel:
Hoe anders ooit aan de top van de berg gekomen
inzien dat de top van de berg zich overal bevindt?

er zal niet zomaar plotsklaps minder bloed vloeien
het aantal culturele vrijhavens evenwel....
zal onverminderd en onverwijld blijven groeien!

Toon Hermans zei nog:
Dankbaarheid is een zeldzame bloem
die niet in ieders voortuin groeit.
wees dankbaar voor iedere dag
wees dankbaar voor elke bloem
wees dankbaar voor iedere seconde

de stad kan morgen terug bezet zijn
maar dààr kan je best nu niet aan tillen!

Met Remco Campert wil ik deze voordracht afronden:
"De wereld swingt als de pest, de rest is gemompel van bedelaars."

Geschreven op de trein van Amsterdam
richting Antwerpen op 10.11.2008
door Uw Antistresspoweet

PLUK

2008-11-27T01:48:00.001+01:00

Painting of Marc Suykerbuyck
Schilderij van Pluk aan de buitenkant van de Jezuiet

Marc himself, also known as Pluk (from the Latin; Carpe Diem)
Waarom kunstenaars zo schuchter zijn op foto's? Kamelenstreken?

Ja zenne foto's door mij getrokken.

Stress Free Drawing/Antistresstekeningetjes

2008-11-27T01:25:00.001+01:00

golden power
digitaal goud toveren

Een detail van een schets
Detail of a quick sketch

INSIGHT
IN ZICH ZELF KIJKEN

I MUST BE CRAZY
NIETS TE GEK, SIMPELWEG EIGEN WERK

More Goodies

2008-11-27T00:19:00.001+01:00

Goe bezig ni?

Good buzzy yes!

THE ANTISTRESSPROJECT window view

2008-11-26T23:02:00.002+01:00

collages by WOSKY

ENKELE TEKENINGEN/SOME DRAWINGS

2008-11-26T22:45:00.001+01:00

STAYING ALIVE
IN BEWEGING BLIJVEN DUS

TEKST UIT KRISTO ZIJN GASTENBOEK
TEXT AND DRAWING FROM ANTWERPBASED ARTIST KRISTO

HOW CAN YOUR EYE EVER BE INCARCERATED?
JE INNERLIJKE OOG KAN NOOIT GEVANGEN GENOMEN WORDEN....

THIS IS NO MARGUERITTE
NEEN DIT IS MARGRIETJE NIET ;-)

From Guru to Guru (foto&flash)

2008-11-26T22:36:00.001+01:00

BIJ MIJ THUIS IN HET ANTISTRESSPROJECT AAN DE MUUR
iNSIDE WALL DRAWING AT MY SPACE "THE ANTISTRESSPROJECT"

DRAWING MADE TOGETHER WITH DUCK FX
TEKENING GEMAAKT MET ALVIN

FRONTAL VIEW UPON THE ANTISTRESSPROJECT
EEN KIEKJE VAN ONZE VOORDEUR

ME ENLIGHTENED
IN HOGERE (LICHT)SFEREN

foto mix

2008-11-26T22:24:00.002+01:00

zoontje Sen bij Kristel en Zazou thuis
my sun Sen at KC and Zazou's home

collage with warmed up colours
verwarmde kleuren collage

shaken version with different colour scala
beverige versie met ingetogen kleuren

outside of Fine Arts Academy studentbar Jezuit
buitenkant café Jezuiet (in ontwikkeling)

IN REMEMBRANCE OF A GREAT SNOWY TIME

2008-11-26T22:17:00.001+01:00

Antistress Art in Red Light District

2008-11-24T15:08:00.003+01:00

moving collage
inside wallpainting @ café Jezuiet
stress free wallpainting at Huikstraat
some collage unshaken version

Some Art Work of SFP

2008-11-24T14:33:00.002+01:00

my november stress free drawing

outside draw ing at café Jezuiet (Antwerp near Fine Arts Academy) in progress ;-)

Oh My God They Killed Kenny -Big Compilation

2008-11-24T11:11:00.001+01:00

The mind of the world is a temporary file

2008-11-12T22:19:00.000+01:00

What you see is what you get
All is in your mind: match game set
If you have visions of revolution
Start with your bodily constitution

Death scratches us with it’s claws
The clock melts in it’s gentle jaws
All must come to it’s ferocious smile
United we rock the boat for a while

Revolution will come to you
Nothing more no thing less
If all the things you have to do
Aren’t anymore up to you

Brave is the one who finds one’s grave
Whilst surfing point break on a living wave
Don’t have to swim, don’t have to run
Just, stay cool at the barrel of any gun

I Like Ur Art: Saatchi Creates an Online Hangout

2008-10-31T18:06:00.003+01:00

I Like Ur Art: Saatchi Creates an Online Hangout for ARTISTS (click here for YOUR GALLERY)
for Artists
By Carol Vogel, The New York Times

Julie Ann Travis , 23, a graduate student at the California College of the Arts in San Francisco, is curious to see what her peers are up to and to share some of her latest work. So recently she posted a self-portrait in which her head is buried in a pile of dirt at Stuart (saatchi-gallery.co.uk/stuart), the latest addition to a recently redesigned Web site for the Saatchi Gallery in London.

The brainchild of the London-based advertising magnate and collector Charles Saatchi, this social networking outlet � a kind of MySpace knockoff for artists � is causing something of a sensation, boosting traffic at the gallery�s Web site overall to more than three million hits a day.

In May Mr. Saatchi, famed for spotting young unknowns and turning them into art-world superstars, created a section on his Web site for artists of all ages to post their work at no charge. It is calledYour Gallery, and now boasts contributions by about 20,700 artists, including 2,000 pieces of video art.

ART NEWS BLOG

Yucatan Living Renaissance

2008-10-31T17:34:00.002+01:00

salvador Baeza

WILLY DEVILLE - Hey Joe - 1992

2008-10-31T17:22:00.000+01:00

THE SEVEN MAGIC KEYS

2008-10-31T17:21:00.001+01:00

Wicca: Laws - Rede of the Wiccae and the Witches Creed

2008-10-31T17:03:00.005+01:00

Sri Yantra Creation Sequence

2008-10-31T16:57:00.000+01:00

µ-ziq - the hwicci song

2008-10-29T19:34:00.000+01:00

SIMPLE MEN

2008-10-29T19:15:00.004+01:00

the days have disappeared in the mysteries
we have lost all we had though we never owned a thing

distances no longer are small or large
all sense of direction has disolved in endless space

we walk upon the earth as giants
though we are simple men with simple clothing

we have pervaded all truth
and you are welcome to join us

Your Stress Free Poet

korte gids voor tijdreizigers

2008-10-29T19:00:00.004+01:00

de dieren zijn buiten
het zweten kan beginnen

binnen is stilte
merkbaar onmerkbare leegte

mijn handen jongleren met sterren
de doden leven door mij heen

er zijn geen stemmen meer te fnuiken
daar de stemmen in mij de mijne niet zijn

stem, noch gedachte, noch gevoelen
kan ik bezitten°

Uw Antistresspoweet

°hoe anders verder te reiken
in dit niemandsland

hoe anders doorheen de tijd reizen

We Are The Living Renaissance

2008-10-24T21:45:00.003+02:00

“The Archaic Revival is a clarion call to recover our birthright, however uncomfortable that may make us. It is a call to realize that life lived in the absence of the psychedelic experience upon which primordial shamanism is based is life trivialized, life denied, life enslaved to the ego and its fear of dissolution.”

Terence Mc Kenna

Lee Perry - Return Of The Super Ape

2008-10-24T19:47:00.001+02:00

ETERNAL THUNDER

Lee Perry-The Upsetter

2008-10-24T19:43:00.002+02:00

I'm The Upsetter

Why are you so ambitious, yeah-he-yeah-hy
Why are you so malicious, yeah-he-yeah-hy

Everything you want for yourself
and you think of no one else
Why are you so red-eyed
Why can't you satisfy
You take people for fool
And use them as a tool
But I am the avenger
You'll never get away from me
I am the upsetter
Suffer, you're born to suffer

I told you once to run, yeah-he-yeah-hy
But you takeit all for fun, yeah-he-yeah-hy

Now it will be tough
For you it will be rough
I promise you the right and the left
And there'll be the uppercut
I am the avenger
This is the upsetter
Suffer, you're born to suffer
You'll never get away from me
I am the avenger
You'll never get away from me

Lee Perry & Mad Professor - Mad Man Dubwise

2008-10-24T19:39:00.000+02:00

Lee "Scratch" Perry - Disco Devil 12"

2008-10-24T19:37:00.001+02:00

louis armstrong - when the saints go marching in

2008-10-24T19:23:00.003+02:00

We are traveling in the footsteps
Of those whove gone before
But well all be reunited (but if we stand reunited)
On a new and sunlit shore (then a new world is in store)

Oh when the saints go marching in
When the saints go marching in
Oh lord I want to be in that number
When the saints go marching in

And when the sun refuse (begins) to shine
And when the sun refuse (begins) to shine
Oh lord I want to be in that number
When the saints go marching in

When the moon turns red with blood
When the moon turns red with blood
Oh lord I want to be in that number
When the saints go marching in

On that hallelujah day
On that hallelujah day
Oh lord I want to be in that number
When the saints go marching in

Oh when the trumpet sounds the call
Oh when the trumpet sounds the call
Oh lord I want to be in that number
When the saints go marching in

Some say this world of trouble
Is the only one we need
But Im waiting for that morning
When the new world is revealed

When the revelation (revolution) comes
When the revelation (revolution) comes
Oh lord I want to be in that number
When the saints go marching in

When the rich go out and work
When the rich go out and work
Oh lord I want to be in that number
When the saints go marching in

When the air is pure and clean
When the air is pure and clean
Oh lord I want to be in that number
When the saints go marching in

When we all have food to eat
When we all have food to eat
Oh lord I want to be in that number
When the saints go marching in

When our leaders learn to cry
When our leaders learn to cry
Oh lord I want to be in that number
When the saints go marching in

What a Wonderful World - Louis Armstrong

2008-10-24T19:19:00.000+02:00

the heart of bangladesh

2008-10-23T18:04:00.001+02:00

Ravi Shankar playing for Bangladesh

CITY WALL HELSINKI

2008-10-23T17:53:00.003+02:00

ok: the music sucks but the idea is boundlessly interesting....

city wall DEMO

Helsinki citywall used by a boozer

woman at City Wall

ShadowReaching: New Perspective on Wall Display Interaction

The Mayan Calendar and the Transformation of Consciousness

2008-10-23T14:53:00.005+02:00

DONT JUDGE!

AND DO NOT FEAR JUDGEMENT!!!

In Lak'ech

I am another You

for instance:
Celebrate 13 Ahau, the Energy of Enlightenment –The Midlight Meditation, June 1-2, 2005

The Oneness Celebration, June 6-8 of 2004 represented the beginning of humanity’s retrieving of an ancient knowledge, the knowledge about the Divine Plan as this was encoded in the calendrical system of the Maya. The worldwide spiritual celebrations and meditations, that took place on these dates, which were also blessed and actively supported by Bagavan in actuality took place at a very important node point in the wave movement of consciosuenss transforming energies that currently is supporting the process of enlightenment of humanity. This wave movement which is shown in the picture below is in the tradition of Mayan terminology best referred to as the Galactic Underworld, a sequence of pulses (days 1 through 7) that step by step allow the energies of the cosmos to create a balancing of our minds that lead in the direction of enlightenment.
Obviously, this is a global, or actually a cosmic scheme for the transformation of consciousness and will not necessarily apply to every given human individual. Some people may already now have attained a balanced state of mind, others are on the way there. Yet, others may be resisting it all and seek to remain in resonance with earlier and lower levels of consciousness (Underworlds). Most of us are vacillating somewhere in between and I feel personally that there may be billions of people who contribute to the development of the cosmic plan without having a conscious idea of attaining an enlightened state. Regardless, with every pulse of the Galactic Underworld more and more people will become enlightened and the nature of these states will become deeper and deeper. The recent beginning of the fourth pulse, the Fourth Day, of the Galactic Underworld, on December 4, 2004 has been experienced as a strengthening of the cosmic energies driving evolution by people everywhere, and it has resulted in a dramatic rise in interest in the True Mayan Calendar as a codification of the Cosmic Plan. To say this is not in any sense meant to belittle the work of Bagavan or the many other people associated with him and Amma who are now giving dikshas around the world. The Cosmic Plan obviously need human participation to be delivered. What it means is that we recognize that there is a cosmic plan in operation that gives wind on the back for work aiming to the Enlightenment of humanity and that this plan is what the Mayan calendar describes.
Obviously, it is not possible to discuss the beginning of the Fourth day of the Galactic Underworld without talking about the tsunami that cost close to 200.000 lives around the Bengal Sea. Those that had one of my calendars could see that this event occurred two days into what was called the Uinal of Death and there is no question that in large parts of the world this uinal was dominated by the experience of death. This illustrates how the Mayan calendar works. It was not possible (at least not to me) to predict exactly what was going to happen, but the energies are predictable. It is entirely possible that the stronger vibrations of the energies of the Fourth DAY was felt by the Earth and precipitated the earthquake. There is certainly no way that it will be consoling to someone who has lost a child or a parent, but we should nevertheless ignore the increased compassion especially between people in Europe and Asia that has been the result of the earthquake. Such compassion and extended links is actually exactly what you should expect would develop based on the Mayan calendar during the Galactic Underworld, where it is known of the rise of the importance of the Eastern Hemisphere in the emerging Galactic consciousness. I feel many in Europe have also been moved by the selfless acts especially of the Thai people rooted in a Buddhist tradition.
This rise of the right brain hemisphere and the increased resonance of the cosmic energies is actually what the Fourth day is all about rebalancing the world after 5000 years of Western left brain dominance. In the diagram below you may see how the incoming energies (very roughly may be visualized. The Oneness Celebration of last year was actually celebrated in a trough, the midpoint of the third NIGHT of the Galactic Underworld. This was thus a turning point and the beginning of the entering of the new energies that led up to the Fourth DAY on December 4, 2004. This, together with the focusing effect of Venus was the reason that to many the Onjeness Celebration was a profound spiritual experience and a taste of what is later to come.
What also is apparent from the figure is that we are approaching a peak in the energies of the Fourth day. This will occur on the days June 1-2 2005 and it is very important to be clear about the meaning of these dates and it is one of those occasions where many things are converging to produce an extremely intense effect. I will shortly explain why, but let me already now say that this will be the most powerful dates for giving dikshas ever and I would like to call on everyone in the mukti movement and in the spiritual community of mankind to make the most of these dates. What the Mayan calendar teaches is not really what we are to do to develop spiritually, but when we are to do it. In other words whatever your path is that aligned with the higher purpose of humanity, be it Tai Chi, Yoga, TM or anything else, take the opportunity of the energies of these dates tobring yourself to new heights.
It is very important to see that the Oneness Celebration that I called to last year and earlier is not something that should be repeated every year on June 6. The reason is that the dates of spiritual celebrations in the future must coincide with the most powerful energies in the Mayan calendar. Moreover, every such celebration will occur at a new energy in the Mayan calendar and so every celebration will have its unique energy. I feel, today more than ever through organizing and developing such celebrations we may contribute a true awareness to everyone around us that we are participating in an evolution, that we are following a cosmic plan. In the old materialist paradigm where mechanical time was ruling celebrations were usually held at a given date in the Gregorian calendar, which is really an expression of the mechanical movement of the Earth around the sum. In the now emerging paradigm it is however the consciousness transforming pulses of the cosmos (which are not subordinated to the cycle of the physical year) that we need to be align our evolution with. What is happening especially since the beginning of the Fourth day is that people are beginning to experience the difference between mechanical earth based time and the rhythm of the cosmic evolution of spirit.
So first of all, June 1 is 13 Ahau (13 Light) and June 2 is 1 Imix (1 Alligator) in the traditional Mayan tzolkin count that provides the energies of the days. 13 Ahau is the last energy of a tzolkin round and 1 Imix is the first energy of a new tzolkin round. Because 13 Ahau is the last of the energies it is also the one to which all of creation is going. For long it has among the Maya been considered an energy of Enlightenment and there are many prophecies surrounding the arrival of the energy of 13 Ahau. In fact, when creation is coming to its completion on the Gregorian day October 28, 2011, not only will the tzolkin energy of 13 Ahau have been attained, but in all the various Underworlds the completing energies of 13 Ahau will have been attained. The cosmos will then be offering a consciousness where our perception of reality will no longer be blocked by any darkening filters. The full Enlightenment of humanity will then be possible and because of the disappearance of all inner filters of darkness there will be no experience of separation from our fellow beings or from the divine (or from our own divine nature for that matter. All will be one and yet unique expressions of creation.
Yet, of course, we are not there yet, and in the collective process there will be many more steps to go, many more waves of consciousness to experience as is shown in the scheme above. Regardless, the energy of 13 Ahau on June 1, 2005 will give us a stronger taste of this enlightened future than at any point before and so I feel that these are energies to make use of. In the same sense as the Oneness Celebration of June 6-8 2004 gave people a taste of what the Fourth day of the Galactic Underworld will bring, the peak days of the Fourth day, June 1.2, 2005 may give people a taste of the completion of all of creation in late 2011.
Certainly, it should not escape anyone that the energy of birth of Kalki (March 7, 1949) is in fact 13 Ahau and so the Midlight celebration may then also be an opportunity to celebrate the enlightening energy of Kalki. Although one person out of 260 is statistically born on the energy of 13 Ahau, I know that it is not an accident that Kalki is one of them. And as we are going deeper into the Galactic Underworld it is absolutely clear that it will become more important to celebrate birthdays in spiritual time (in Kalki’s case one of them would fall on June 1, 2005) whereas birthdays in mechanical time (such as March 7) will be less important since the mechanical dates do not retain the original spiritual energy of birth. For these combined reasons I would like to suggest that, properly taken advantage of, June 1, 2005 will provide a Super Diksha Day.
June 2 2005 provides the beginning date of a new tzolkin round and there will be nine more such to go before the completion of the divine process of creation. Since it is the first day it provides an excellent opportunity for people that want to develop resonance with the divine plan by following the Mayan calendar. Soon we have in fact come to a point where spiritual people cannot avoid being conscious of the wave movement of divine creation. In my view it is a very important task to disseminate this calendar as widely as possible as it allows people to connect to a higher meaning, the enlightened future of humanity, and this is the kind of hope that the world now sorely needs. The need to disseminate the hope of the Mayan calendar and the awareness (currently unknown to most) that we are actors is a divine creation that develops according to cycles completely different to the physical is a crucial aspect of the guidance that spiritually aware people may offer others in the certainly turbulent times to come as the Galactic Underworld comes to a close. So while especially June 1 is a time to celebrate an energy of completion, it is also the beginning of a new round which should be widely recognized as an opportunity for those that want to enter the divine flow of time.
Lastly, The Midlight Celebration is a celebration of the midpoint not only of the Fourth day of the Galactic Underworld, but also the midpoint of the Galactic Underworld. We are celebrating what is the fourth pulse of divine creation, the Midlight of the Jewish Menorah if we like. The idea of Seven days of divine creation is however shared by Christian and Muslims and almost universally is the number Seven recognized as a holy number. We will experience the the very center point of it all. What this has meant in historically analogous times I will share in other articles that will be posted here on http://www.calleman.com/

Johan Callemancjcalleman@swipnet.se

Global Shift in Dimensions 2008-2012 Mass Awakening

2008-10-23T14:50:00.001+02:00

JA, SAMENKUNST KAN DE WERELD REDDEN!

2008-10-23T14:28:00.002+02:00

SAMEN VREDES-ENERGIEËN-OOGST-MACHINES BOUWEN...

Di Wesselli is een niet onverdienstelijk schilder die een eigen thematiek, en tevens een unieke reliëftechniek ontwikkelde. Ook in deze discipline kan hij het uitvinden niet laten!

Open Doors for Artists

2008-10-23T14:08:00.003+02:00

Terence McKenna excerpt from “Open Doors for Artists.”
You can select yourself as an artist. In fact you must do it as no one can do this for you. And once you have self-selected yourself as an artist you are an artist regardless of other people’s opinions.

And now it bears upon you to imagine something, to conceive of something and to hold something in your mind. This something is private and personal and only you know of its existence.

Then as an artist it become your task to manifest this something in the real world, to take your private and personal vision and make it visible to all.

This act of an artist, the sole thing an artist must do, is actually an act of magic. Make something tangible in the world that previously only existed as an intangible idea.

Perhaps an artist has seen some small detail of ordinary life that is commonly ignored. But to the artist this small detail is important even if only that it is part of the miracle of life and it is being ignored.

In the artist’s mind this detail possesses importance.

So then the artist contrives to create circumstances to attract attention to this small previously ignored detail so that others can recognize its importance as well.

So this magical ability of an artist is a special talent of an artist and for this reason artists have a role to play in society.

Artists must show others what does not exist and attract their attention to the overlooked details of everyday life.
Today there is great opportunity for artists.
Much is missing from daily life.
Many small details have become overlooked.

Now is your chance to step up and become the artist you have always wanted to become.
Show the rest of the world what they have been missing.
Be part of the peaceful solution, the peaceful resolution and help take back America.

Terence McKenna's message to Artists

2008-10-23T14:01:00.003+02:00

IF THE ARTIST CANNOT FIND THE WAY
THAN THE WAY CANNOT BE FOUND!!!!

ART'S TASK IS TO SAVE THE SOUL OF MANKIND.

Vergeet je schoenen niet uit te trekken

2008-10-23T01:47:00.003+02:00

buigzaam als een kaars
wakker als de Wind
blij als een Kind
het zintuigelijke schetsen
meer waarnemen dat je voelt
meer waarnemen dan je voelt
het oneigenlijke verkrijgen
buigzaam als een kind
wakker als een kaars
blij als de wind
géén vormelijke vereisten
een open interview
met één sok op pad
of met je blote voeten door de stad

Uw Antistresspoweet

Street Children in Bangladesh (Dhaka)

2008-10-23T00:28:00.002+02:00

BANGLADESH: Street Children Suffer Sexual Abuse
Inter Press Service - November 12, 2001 Qurratul Ain Tahmina
DHAKA, Nov 12 (IPS) - His serious demeanor belies his young age, but Mohammad Atikul Alam has probably seen it all.
Now a peer trainor at Aparejeya-Bangladesh (AB) here in Dhaka, Alam has been on his own for the last five years, having left his home, an "uncaring" father, and a stepmother in a faraway village at age 11.
He says he found himself living in the streets of this bustling city, and it was only by sheer luck that he stumbled upon AB, a non- government organisation which runs a day-night shelter for minors like him.
"I am 16 now," says Alam. "It's an age when you want to try out many things. If I wish to have sex I can get a girl paying 50 taka (less than a dollar) or even less."
"I know girls who sell sex for a living," he adds, matter-of- factly. "I also know of street girls who are abused by various men. Amongst us street kids, many go to bad girls (sex workers) or have sex with friends at least twice or thrice a week. Even very young boys and girls have this habit."
Every day, the streets of Dhaka become the new home of children who have run away from their families because of poverty, domestic violence or sheer neglect.
Officials estimate that there are some 20,000 to 30,000 children between the ages of eight and 16 now living in this city's streets. And in such a situation, experts say, these children are vulnerable to all kinds of diseases, including those that are sexually transmitted, such as HIV/AIDS.
"When an eight or nine or 10, 11-year-old child comes to the city all alone, he or she is in an extremely unprotected and vulnerable situation," points out AB training coordinator M. A. Hannan.
"For survival they need to work and they linger in the busy areas of the city -- bus stations, markets, railway stations, and launch terminals," he says, noting that such areas are dominated by men who have been living away from their families for months or even years.
"The policemen are also included in this group," says Hannan. "In the first few days of total bafflement, without any shelter or friend around, the kids get attached to whoever shows them any sympathy or affection."
"These men can easily lure the children with food, money and kind words and eventually abuse them sexually. This happens to boys and girls equally," he says.
Hannan even says that they have encountered children still bleeding from the abuse they have just endured. He recounts,"Some children take it as a shock and wipe out the memory. Often they suffer from traumas."
"There are some kids who take it as a game and later share the experience with friends," he also says. "And thus multiple- partner sexual involvement becomes a habit for many as they grow up. Girls do it for fun and for earning a living. Homosexual practices, too, are very high among the boys."
Other experts say even those children who have some sort of family to which they return at night for shelter are also at high risk of being abused since they spend more than 10 hours a day roaming the city.
According to the United Nations Development Programme (UNDP), the total number of streetchildren - including those who go home to their families at night - in five major cities across Bangladesh reaches about 300,000.
These children are invariably busy at work in the streets - picking rags or paper, shining shoes, chipping bricks at construction sites, running errands in market places, selling newspapers or flowers at traffic intersections, washing plates in roadside restaurants and begging.
Some also sell sex. Most if not all are exposed to all sorts of crimes that go on in the city.
AB began working with the street children of Dhaka in 1989, and introduced a four-step rehabilitation programme aimed at educating the children of their rights and what they can do to protect themselves from abuse and diseases such as syphilis, gonorrhoea and HIV/AIDS.
It is telling that when the programme began, half of the children who sold sex had syphilis while about 13 percent were injecting drug abusers. A baseline survey conducted among streetchildren also found that majority were virtually unaware of HIV/AIDS.
The recently concluded HIV/AIDS prevention and education programme, which ran for a year and followed the peer-education model, targetted some 13,650 kids. Alam himself says he was able to reach and teach at least 1,400 of his friends.
The programme also targetted 10,000 adults in the children's immediate neighbourhoods, including shopkeepers, police, traders/small businessmen, and night guards of different buildings. AB personnel say many of these adults are often the abusers of the children living in the streets.
STD and HIV/AIDS education continues through AB's integrated programme since the practice of safe sex remains very low among streetchildren in general. But since AB discourages sexual activity among children, it limits itself to "safety-related" information and does not promote condoms.
Hannan says that it is their social context that makes it difficult to keep streetchildren out of willing or unwilling sexual involvement.
"The looks of a street kid do not evoke sympathy in the so- called educated and regular type of people," he says. "These kids are always looked down on as potential thieves and troublemakers. Consequently they are forced to be in company with the rough lot."
"In such circumstances," he says, "the prevailing mainstream social or religious values carry no meaning for them. They (the children) ignore these just as the larger society abandons them."

Street Children 2

2008-10-23T00:26:00.001+02:00

Mumbai and Goa for the TOURISTS

2008-10-23T00:11:00.004+02:00

INDIA Bombay and Goa
INDIA Bombay and Goa part 2

Train from Mumbai to Goa

Goa Anjuna Flea Market

Gateway To India - Bombay 1932

Salaam Bombay - street children in Mumbai, India

Railway Children India

Amazing Timothy Leary Interview

2008-10-22T23:41:00.003+02:00

Looptroop-The Struggle Continues

2008-10-22T08:57:00.002+02:00

Everyday you give more to recieve your less (Why)
I know it's hard to believe that mess
So when you get home and you feel depressed
Just put on my tape and relieve the stress

And yo, cut the system let it bleed to death ain't nothing
But your mission, never leave your quest in
Pole position - speed up lead the rest
They don't need to rest, they need to see we blessed

Yo, life is like a tide - shit coming and goes
Sombody had to cry 'cus somebody wanted it so
You have to fight to feel the harmony flow
But it's hard when the light's both so far and so close

So when you fed up and you tired of life
keep your head up, you'll reach higher heights
Yo get up, for the time is right
My people step up, and shine your light

'Cus all the trouble we've been through
and all of the evil that men do
makes us harder the struggle continues
Come on my sisters and brothers and sing too

Feel how the harmonies link you
while the struggle continues
we've got so many things to
say and do now...

I know that life hurts
We all need a night nurse
I need to write words - I need the right words

To come across and make you feel my thirst
Without this so called freedom of speech I might burst
Transform the pain into a tight verse
Sendin' a shout out to all the freedom fighters
throughout the whole U 'n I verse
winning this struggle unless we die first

Yo when you hurt so much that it's hard to speak
and it hurts so much you can hardly breath
You wanna get up and fight but you far to weak
Feels like a too long night for your heart to beat
They wanna kiss and make up but talk is cheap
You'd like to dis 'em straight up cus you're scarred to deep
Don't be fooled (never) recognize the mark of the beast
Stay true to yourself and you'll hard to beat.

'Cus all the trouble we've been through
and all of the evil that men do
It makes us harder the struggle continues
Come on my sisters and brothers and sing too

Feel how the harmonies link you
while the struggle continues
We got so many things to
say and do now...

I've seen so many different faces, different places
I've seen so many people strugglin' no matter the ages
From your granddads granddad to newborn babies
The answer that they givin' is all the same old phrases

I've seen the pain gone away with medication
In dirty syringes in dirty stair cases
I've seen lives slaughtered by dictators
Nowadays nothing is news 'cus nothing amazes

I've seen so much that is hard to write
but it seems that's it's the part of life
and the people who make us apologize
is the same who make people starve tonight

And when your mind sees no difference between wrong or right
and your life sees no difference between dark or bright
and when not wakin' up is your only spark of light remember:
We got a war to fight!

So when you fed up and you tired of life
keep your head up, you'll reach higher heights
Yo get up for the time is right
My people step up, and shine your light

Cus all the trouble we've been through
and all of the evil that men do
It makes us harder the struggle continues
Come on my sisters and brothers and sing too

Feel how the harmonies link you
while the struggle continues
we've got so many things to
say and do now...

The struggle continues til it suddenly hits you
The biggest one is the struggle within you
Kill out the hate that is bubblin' in you
before your mental poverty ends you

Can you hear us?...

All the trouble we've been through
all of the evil that men do (on an'on)
the struggle continues (you gotta sing it)
come on and sing to (you gotta feel it)
the harmonies link you (on an'on)
and the struggle continues (so many things)
so many things to say and do now

We got, so many things to say and do now...

dj vadim feat sarah jones-revolution

2008-10-22T08:43:00.003+02:00

your revolution will not happen between these thighs
your revolution will not happen between these thighs

the real revolution ain't about booty size the Versaces you buys or the Lexus you drives

and though we've lost Biggie Smalls your Notorious revolution
will never allow you to lace no lyrical douche in my bush
your revolution will not be you killing me softly with Fugees
your revolution won't knock me up without no ring and produce li'l future MCs
because that revolution will not happen between these thighs

your revolution will not find me in the
backseat of Jeep with LL hard as hell doin' it & doin it & doin' it well

your revolution will not be you smackin' it up, flippin' it, or rubbin' it down nor will it take you downtown or humpin' around
because that revolution will not happen between these thighs

your revolution will not have me singing ain't no nigger like the one I got
your revolution will no be you sending me for no drip drip VD shot

your revolution will not involve me feeling your rise or helping you fantasize
because that revolution will not happen between these thighs
and no, my Jamaican brother, you revolution
will not make me feel bombastic and really fantastic
have you groping in the dark for that rubber wrapped in plastic

you will not be touching your lips to my triple dip of french vanilla, butter pecan, chocolate deluxe or having Akinyele's dream,
a six-foot blowjob machine

you wanna subjugate your queen;
think I should put that in my mouth just 'cause you made a few bucks

your revolution will not be me tossing my weave
making believe i'm some caviar-eating, ghetto mafia clown
or me givin' up my behind just so I can get signed 'and maybe have someone else write my rhymes?
I'm Sarah Jones, not Foxy Brown
your revolution makes me wonder, where could we go
if we could drop the empty pursuit of props
and the ego revolt back to our Roots,
use a little Common sense on a Quest to make love De La Soul, no pretense...but

your revolution will not be you flexing your little sex and status to express what you feel;
your revolution will not happen between these thighs will not happen between these thighs
will not be you shaking and me faking between these thighs because the real revolution, when it finally comes, is gon' be
real

De Tarot in herstelde orde

2008-10-21T21:32:00.000+02:00

The Revolution Will Not Be Televised

2008-10-21T15:16:00.002+02:00

The Revolution Will Not Be Televised

You will not be able to stay home, brother.
You will not be able to plug in, turn on and cop out.
You will not be able to lose yourself on skag and skip,
Skip out for beer during commercials,
Because the revolution will not be televised.

The revolution will not be televised.
The revolution will not be brought to you by Xerox
In 4 parts without commercial interruptions.
The revolution will not show you pictures of Nixon
blowing a bugle and leading a charge by John
Mitchell, General Abrams and Spiro Agnew to eat
hog maws confiscated from a Harlem sanctuary.
The revolution will not be televised.

The revolution will not be brought to you by the
Schaefer Award Theatre and will not star Natalie
Woods and Steve McQueen or Bullwinkle and Julia.
The revolution will not give your mouth sex appeal.
The revolution will not get rid of the nubs.
The revolution will not make you look five pounds
thinner, because the revolution will not be televised, Brother.

There will be no pictures of you and Willie May
pushing that shopping cart down the block on the dead run,
or trying to slide that color television into a stolen ambulance.
NBC will not be able predict the winner at 8:32
or report from 29 districts.
The revolution will not be televised.

There will be no pictures of pigs shooting down
brothers in the instant replay.
There will be no pictures of pigs shooting down
brothers in the instant replay.
There will be no pictures of Whitney Young being
run out of Harlem on a rail with a brand new process.
There will be no slow motion or still life of Roy
Wilkens strolling through Watts in a Red, Black and
Green liberation jumpsuit that he had been saving
For just the proper occasion.

Green Acres, The Beverly Hillbillies, and Hooterville
Junction will no longer be so damned relevant, and
women will not care if Dick finally gets down with
Jane on Search for Tomorrow because Black people
will be in the street looking for a brighter day.
The revolution will not be televised.

There will be no highlights on the eleven o'clock
news and no pictures of hairy armed women
liberationists and Jackie Onassis blowing her nose.
The theme song will not be written by Jim Webb,
Francis Scott Key, nor sung by Glen Campbell, Tom
Jones, Johnny Cash, Englebert Humperdink, or the Rare Earth.
The revolution will not be televised.

The revolution will not be right back after a message
bbout a white tornado, white lightning, or white people.
You will not have to worry about a dove in your
bedroom, a tiger in your tank, or the giant in your toilet bowl.
The revolution will not go better with Coke.
The revolution will not fight the germs that may cause bad breath.
The revolution will put you in the driver's seat.

The revolution will not be televised, will not be televised,
will not be televised, will not be televised.
The revolution will be no re-run brothers;
The revolution will be live.

The Meaning And Purpose Of Life - The Muppet Show

2008-10-20T18:25:00.001+02:00

DIESEL

2008-10-20T18:11:00.002+02:00

goedkoop verkrijgbaar bij Uw lokale kringloopwinkel ;-)

available NOW very cheap at your local free store ;-)

booker T & the MG'S melting pot

2008-10-20T16:02:00.001+02:00

Bob Marley - Sun is Shining

2008-10-17T18:00:00.002+02:00

TO THE RESCUE HERE I AM

sun is shining, the weather is sweet
make you want to move your dancing feet
to the rescue, here i am
want you to know, y'all, where i stand

(monday morning) here i am
want you to know just if you can
(tuesday evening) where i stand
(wenesday morning)
tell myself a new day is rising
(thursday evening) get on the rise
a new day is dawning
(friday morning) here i am
(saturday evening) want you to know just
want you to know just where i stand

when the morning gathers the rainbow
want you to know i'm a rainbow too
so, to the rescue here i am
want you to know just if you can
where i stand, know, know, know, know, know

we'll lift our heads and give jah praises
we'll lift our heads and give jah praises, yeah

sun is shining, the weather is sweet
make you want to move your dancing feet
to the rescue, here i am
want you to know just if you can
where i stand

(wenesday morning)
tell myself a new day is rising
(thursday evening) get on the rise
a new day is dawning
(friday morning) here i am
(saturday evening) want you to know just
want you to know just where i stand

when the morning gathers the rainbow
want you to know i'm a rainbow too
so to the rescue, here i am
want you to know just if you can
where i stand, know, know, know, know, know

we'll lift our heads and give jah praises (repeat)
sun is shining, the weather is sweet
make you want to move your dancing feet
to the rescue, here i am
want you to know just if you can
where i stand, no, no, no, no, where i stand
sun is shining, sun is shining

De zon schijn, het weer is goed, jaah
Laat je je dansende voeten willen bewegen

Wanneer de ochtend zich verzamelt met de regenboog
Wil je laten weten dat ik ook een regenboog ben
Hier ben ik voor de redding
Wil je laten weten dat jij alles bent, begrijp je dat?

De zon schijn, het weer is goed, jaah
Laat je je dansende voeten willen bewegen

Wanneer de ochtend zich verzamelt met de regenboog
Wil je laten weten dat ik ook een regenboog ben
Hier ben ik voor de redding
Wil je laten weten dat jij alles bent, begrijp je dat?

Geloof je in mij?
Geloof je in mij?
Geloof je in mij?
Geloof je in mij?
Geloof je in mij?

Ik ben ook een regenboog
Ik ben ook een regenboog
Ik ben ook een regenboog
Ik ben ook een regenboog
Ik ben ook een regenboog
Ik ben ook een regenboog
Ik ben ook een regenboog

Maar voor de redding, hier ben ik
Wil je laten weten, als 't kan,
Hier sta ik

Voor de redding, hier ben ik
Wil je laten weten dat jij alles bent, begrijp je dat?
De zon schijn, het weer is goed, jaah
Laat je je dansende voeten willen bewegen

(Songtekst vertaald door Sebastian Sørensen)

Groucho Marx- 7 Cent Nickle

2008-10-17T17:50:00.002+02:00

And what is your definition of art?

ONE HIT WONDER

2008-10-17T17:38:00.003+02:00

One Hit Wonder

Archduke Franz Ferdinand
Has a lot to answer for.
He failed to dodge the bullets,
And so started the First World War.

As one reviewer famously put it, 'Peculiar Poetry combines the comic talent of Karl Marx with the intellectual genius of Groucho Marx.' So expect funny poetry that is always wry, often witty, sometimes dark or dirty. Expect the unexpected...

Swing!

2008-10-17T08:06:00.003+02:00

Jean-Baptiste "Django" Reinhardt (January 23, 1910 -- May 16, 1953) was a Belgian Sinto Gypsy jazz guitarist. He was one of the first prominent jazz musicians to be born in Europe, and one of the most renowned jazz guitarists of all time. His most renowned works include "My Sweet", "Minor Swing", "Tears", "Belleville", "Djangology" and "Nuages". Reinhardt spent most of his youth in gypsy encampments close to Paris, playing banjo, guitar and violin from an early age professionally at Bal-musette halls in Paris. He started first on the violin and eventually moved on to a banjo-guitar that had been given to him and his first known recordings (in 1928) were of him playing the banjo.At the age of 18 Reinhardt was injured in a fire that ravaged the caravan he shared with Bella, his first wife. They were very poor, and to supplement their income Bella made imitation flowers out of celluloid and paper. Consequently, their home was full of this highly flammable material. Returning from a performance late one night, Django apparently knocked over a candle on his way to bed. While his family and neighbors were quick to pull him to safety, he received first- and second-degree burns over half his body. His right leg was paralyzed and the third and fourth fingers of his left hand were badly burnt. Doctors believed that he would never play guitar again and intended to amputate one of his legs. Reinhardt refused to have the surgery and left the hospital after a short time; he was able to walk within a year with the aid of a cane. In 1934, Louis Vola formed the "Quintette du Hot Club de France" with Reinhardt, violinist Stéphane Grappelli, Reinhardt's brother Joseph and Roger Chaput on guitar, and himself on bass.The concept of "lead guitar" (Django) and backing "rhythm guitar" (Joseph Reinhardt/Roger Chaput or Pierre Ferret) was born with that band. When World War II broke out, the original quintet was on tour in the United Kingdom. Reinhardt returned to Paris.Reinhardt survived World War II unscathed, unlike the many Gypsies who perished in the porajmos, the Nazi regime's systematic murder of several hundred thousand European Gypsies, quite a few of whom were sent to death camps. He was especially fortunate because the Nazi regime did not allow jazz to be performed and recorded. He apparently enjoyed the protection of the Luftwaffe officer Dietrich Schulz-Köhn, nicknamed "Doktor Jazz", who deeply admired his music. Many musicians have expressed admiration for Reinhardt , including guitarist Jimmy McCulloch, classical guitarist Julian Bream; country artist Chet Atkins, who placed Reinhardt #1 on a list of the ten most influential guitarists of the 20th century ; Latin rocker Carlos Santana; blues legend B.B. King; the Grateful Dead's Jerry Garcia; Black Sabbath's Tony Iommi; Jimi Hendrix; Synyster Gates; Shawn Lane; Stevie Ray Vaughan; Derek Trucks; Mark Knopfler; Les Paul; Joe Pass; Peter Frampton; Denny Laine; Jeff Beck; Jon Larsen; Steve Howe; Charlie Christian and George Benson. Jimi Hendrix is said to have named one of his bands the Band of Gypsys because of Django's music. The Allman Brothers Band song "Jessica" was written by Dickey Betts in tribute to Reinhardt — he wanted to write a song that could be played using only two fingers. This aspect of the artist's work also motivated Black Sabbath guitarist Tony Iommi, who was inspired by Reinhardt to keep playing guitar after a factory accident that cost him two fingertips.

LIFE IS A GIFT

2008-10-16T09:43:00.001+02:00

Life is an opportunity, …. benefit from it.
Life is beauty, …. admire it.
Life is bliss, …. taste it.
Life is a dream, …. realize it.
Life is a challenge, …. meet it.
Life is a duty, …. complete it.
Life is a game, …. play it.
Life is a promise, …. fulfill it
Life is sorrow, …. overcome it.
Life is a song, …. sing it.
Life is a struggle, …. accept it.
Life is a tragedy…. confront it.
Life is an adventure, …. dare it.
Life is luck, …. make it.
Life is too precious, …. do not destroy it.
Life is life, …. fight for it.

by Mother Theresa