Category Archives: Art

Instructions Included

I am addicted to this site.  Bored at home?  Slow at work?  Waiting for your friends to get ready to go somewhere?  Pull this place up and LEARN something.  While writing this, your author has learned how to make a forge from a torch and a can of beans, a set of beads to count kilometers while walking, and a “Boba Fett” helmet from old carboard. 

Practical, outdoorsy, or frivolous, Instructables is a great site for accumulating info and ideas no matter how much of it you actually make or use.

Nazi blogosphere vs Facts (DJ Cain and MC Encyclopedia of World Fascism remix)

Yo back up now and give a brother room
The fuse is lit and Im about to go boom
Mercy mercy mercy me
My life is a cage but on stage Im free

I’ve asked this question before: Suppose the natives in some Western European countries actually start to seriously resisting the organized destruction of their countries, halt mass immigration and reverse Multiculturalism. How will American authorities and media react to this?

Frankly, I wouldn’t be too surprised if they turn out to be actively hostile to native Europeans. That was the case with Clinton and with Bush, who after all supported the continued Islamization of Europe through Turkish membership of the European Union. It will be even worse with Obama, an anti-white Marxist.

As we know, a “Nazi” these days is not one of the many Muslims and their Leftist cheerleaders who shout “Death to Jews! in the streets of Europe; it’s any white person who doesn’t lie down and die on command. If we don’t lie down and die, we must be Nazis. We are after all Europeans.

Gates of Vienna

Fascists in Europe have seen this more recent immigration as a threat to the cultural homogeneity and national traditions of their countries. They have often exploited increases in the numbers of Muslims to claim that they are defending Christianity against Islam. Opposition to immigration has been one of the common threads within various fascist movements, and it is arguable that it plays the same role for such movements today as anti-Semitism did for inter-war Nazism and its imitators.

The Encyclopedia of World Fascism, page 367

JERUSALEM — Even as Barack Obama becomes the 44th president of the United States, anti-Israel professor Rashid Khalidi, whose ties to Obama stirred controversy during the campaign, has stated he could currently communicate with the incoming commander in chief, WND has learned.

Amid concern within the pro-Israel Jewish community, Obama repeatedly had denied he was influenced by Khalidi.

In an interview with the radical Democracy Now! news network last week, Khalidi expressed hope Obama would alter U.S. foreign policy in the Middle East, talking to “all sides” of the Israeli-Palestinian arena. He also criticized Israel for killing civilians in the Gaza Strip the past few weeks and for leading what he termed a “propaganda campaign” to de-legitimize the Hamas terrorist organization.

World Net Daily

In practice, the term cosmopolitan was applied by interwar fascists chiefly to Marxists, Freemasons, and Jews. In Nazi thinking, Marxism and Freemasonry were themselves part of an international Jewish conspiracy, so that “cosmopolitan” often meant “Jewish.”

The Encyclopedia of World Fascism, page 188

Continue reading Nazi blogosphere vs Facts (DJ Cain and MC Encyclopedia of World Fascism remix)

I’m in ur conspiracy theoriez, doin performance art


The very idea of a 911-TV-Fakery researcher faking their own suicide as a performance art piece is incredibly synchronistic for me given the last year and half’s experience of investigating the mysterious double suicide of conspiratorially minded artists Theresa Duncan and Jeremy Blake. In that case several folks at the Rigorous Intuition and Dreams End websites and forums were talking about the wild and weird world of Situationist performance art and related artistic movements, some of which seem to involve a lot of parapolitical intrigue that sometimes includes hoaxing, culture-jamming and even the faking of people’s murder or suicide, aka pseudocide. Other discussions centered on the idea of both real-world and online group-stalking and gaslighting of people driving them to perhaps commit suicide. In my interview last year with parapolitical activist, writer and researcher Len Bracken (author of the biography on Situationist movement leader Guy Debord – Revolutionary) I brought up the possible confluence of some of the wilder personalities within the 911 Truth Movement (folks who seem more like performance artists than activists and researchers) and the Situationist and Discordian communities.

Also, a link to the mentioned interview can be found here.

TV Tropes

This is absolutely my favourite site of the moment.  For real.  I have spent hours, with which I could have done a lot better things, reading it and laughing quite often at the descriptions within.

To quote from the main page:

Tropes are devices and conventions that a writer can reasonably rely on as being present in the audience members’ minds and expectations. On the whole, tropes are not clichés. The word clichéd means “stereotyped and trite”. In other words, dull and uninteresting. We are not looking for dull and uninteresting entries. We are here to recognize tropes and play with them, not to make fun of them.

The wiki is called “TV Tropes” because that is where we started. Over the course of a few years, our scope has crept out to include other media. Tropes transcend television. They exist in life, as we will be quick to tell you. Since a lot of art, especially the popular arts, does its best to reflect life, tropes are likely to show up everywhere. We want ’em all.

As someone who enjoys writing myself, a site like this is incredibly useful.  But even for the casual reader or watcher of television, its a really great site and I cannot recommend it enough.  If you want to visit, please follow the link.

More on the Watchmen state of affairs

Reading this open letter from the producers, its looking like the Fox case against Warner, whatever the legal validity, is little more than the result of sour apples.  That Warner have taken the risks, put in the work and invested the money, only for the result to be that Fox, who refused to do any of that when given the chance, is nothing short of unbelievable.

Thanks to P3nt on the forums for the link.

the illegitimate son of convention presents: do you know?

the illegitimate son of convention has completed a brand new track entitled “do you know?”

 the piece was composed and recorded over the last month or so.  it is a fairly ambitious 20 minute long piece, but I think, it is one that moves right along and doesn’t drag.  Musically, it certainly channels the spirit of a Sonic Youth/Thurston Moore song.  Starts with some nice, jangly, unprocessed guitars, playing simple chords in an alternate tuning.  Then about halfway through, the distortion/feedback love fest begins. 

 On top of this musical landscape is an improvised sermon/rant based in Black Iron Prison philosophy.

 I think you will enjoy it.  Go to this link to download the song:

Humour is a weapon….so you better learn how to use it!

“The human race has only one really effective weapon and that is laughter.”
– Mark Twain

“Wit is a dangerous weapon, even to the possessor, if he knows not how to use it discreetly”
– Michael de Montaigne

Both Montaigne and Twain were, of course, entirely right in their assessments.  Especially Montaigne, that genteel and erudite man of letters, whose scholarly essays were always filled with amusing and witty anecdotes, usually at his own expense.

But the fact remains, humour is a weapon.  In fact, its the best weapon there is.  How powerful is a potential Adolph Hitler if all his voters are laughing at him?  Bigots and fundamentalists of all stripes have a decidedly dim view of humour for this reason.  It’s not a product of force, but of the intellect.  It doesn’t reduce cities to rubble or execute heretics, but at the same time it can be used to kill a man stone dead, in the eyes of those whose respect and fear he needs the most.

Even the traditionalist militarists and corporatists are suspicious of humour.  Its not something that can be used for inflating an R&D budget, nor acquired and stockpiled at great cost.  Equally, its subversive tendencies chafe against the regimentation and hierarchical nature of corporate life.

The thing is, with all weapons, you have to know how to use it right.  Just like in a knife fight, where an inexperienced idiot with a blade is a greater danger to themselves than an unarmed expert, you have to know how to use humour properly, or else you’ll end up hoisted on your own petard, as it were.

Because of this, a sort of rumour, or perhaps a scurrilous lie, has been spread about humour.  Apparently, its an inborn trait, like blonde hair, or height, or wanting to be a corporate liar.  Some sort of genetic fluke which makes some people funny and others not.  And if you are one, then you can never be the other, try as you might.

It is, of course, complete and utter bullshit.  No doubt some people have more of a natural flair for humour – perhaps an ease with large audiences, a natural disposition to be the centre of attention, an excellent command of the English language.  But humour, like any other skill and especially writing style, can be cultivated and developed, up until the point it can be forged into a weapon, a perfect design to smash enemies and leave them looking like fools.

Unfortunately, this means we’re going to have to do some incredibly unfunny analysis of humour and how it actually works.  If that bothers you, then I suggest you look away…now.

Right, now we’re rid of them.  I suppose I should start from the beginning.  What is the point of humour?  Psychologists have actually found that humour, while an innate trait among most humans, also serves some interesting sociological purposes as well.

Usually, these are divided down into six reasons:

we laugh out of instinct
we laugh out of incongruity
we laugh out of ambivalence
we laugh for release
we laugh when we solve a puzzle
we laugh when we regress

Additionally, two meta-reasons are often added to this analysis:  we laugh out of surprise, or because we feel superior.

Surprise is obvious and easy.  Its also one of the most universal reasons for laughing.  Embarrassment and trickery are core to this idea.  Obviously, you have to maintain the level of surprise for this type of humour to work.  Easily guessed wordplay might be witty, but lacking that factor, it is not especially funny.

Surprise is, in essence, the cardinal rule of comedy.  It should have some role in almost everything funny you do.  Without it, comedy ceases to be.  Its a curve ball that throws the audience off balance.

Superiority, of course, is one that should actually interest us too.  All good humour has an element of both tragedy and cruelty to it, to be really effective.  What adds to that effectiveness is the feeling that those who are not the target of the joke, or who guessed at or appreciated the joke, are superior to those who are not.

This may sound, in theory, elitist, but it need not be.  In fact, comedy of this sort is often the great equalizer, documenting and mocking the failings of the great and powerful, of people who want to put you in your place.  Comedy of this sort is the true razor blade of rhetoric, its use is to cut the other person down to size.  Its transgressive nature questions assumptions and cherished beliefs.  As social criticism, it is especially effective because humour goes beyond restrictions and social norms.  Humour can also be used to maintain the status quo, to ridicule out-groups…but that sort of humour is boring and stale.

Instinctively, we laugh as a verbal substitute for an attack.  The laugh of the triumphant is the one that says “I am better than you.”  It is a way of venting hostility when physical assault is not practical.

Incongruity makes us laugh because something is internally inconsistent, it is paired or matched in odd ways.  When we realize why, or how, we laugh.  Often this is related to the idea of superiority, though the original appearance of the incongruous may be surprising as well.  The two combined are especially effective.

Ambivalence is similar to incongruity, but instead of the clash or conflict of irreconcilable ideas or perceptions, ambivalence is the simultaneous presence of mixes signals.  Once decoded, the language expresses both of these feelings, usually love and hate, at the same time.  It is an attempt to maintain dignity, to cover up our foolish errors, and is especially useful in self-deprecating humour.

Release is a pretty obvious one.  We laugh to release tension, to remove ourselves from uncomfortable or dangerous situations, to air truths that may be otherwise hard to face.  This release is especially useful if it can be experienced as a group event – and the element of surprise must be removed.  The audience must know what lies behind the door, or what happens next to the over-curious cat.  That is where the rule of surprise no longer applies.

After we’ve been roughed up, its nice to see someone else take a few lumps.  The idea is that if we are laughing at them, then they cannot laugh at us.  This humour can spark a revolutionary sentiment, or quash it, giving safe release to emotions that may be better used getting people to work at something else.  Consider its use carefully.

Puzzles are also elements of surprise.  Its a matter of configuration, the set up.  You have to frame a problem or a riddle in a certain manner, then propose a valid, if surprising, answer to it.  We take delight in the surprise, and comfort in the superiority of knowledge.

In terms of regression, Freud argued that comedy was as important as sleep.  It allowed for more primitive urges and desires to be expressed in acceptable social ways.  Especially for infantile, sexual or aggressive behaviour.  A playful mood, adopted as relaxation, is the most common form of this sort of humour (consider the comic strip – often the most common form of humour regardless of nationality or culture).  This also includes a desire for social approval however.  Regressive humour is rarely continued without a form of social acceptance, especially from authority figures.  It is therefore a tool to be used when you and your audience share a target in common, someone whom you both dislike and feel needs to be made an object of ridicule.

In short, humour is a manifestation of what society really believes, but dares not say.  It pierces beneath the bullshit and spin to get at the Really Real (Perceived) Truth of the matter.  Because sometimes we cannot deal with tragedy directly, we rely on humour to ease our way to acceptance.

Sick humour, in and of itself, is rarely effective, except perhaps as an opening gambit, a ploy to attract attention.  Beyond that, it can actually have a negative effect on audiences.

So, that’s the why of humour, the idea as to why we need it.  Now we move onto the nuts and bolts, the how of humour.  These are the necessary ingredients for any comedic routine.  Without them, the humour may taste somewhat off or wrong, and in worst case scenarios, ruin the entire joke.

The six principle ingredients are:


The target is the most important aspect of this.  A successful target must fit the persona and style you are using, as well as the interests of the audience.  Therefore, pick your battles carefully, and with this uppermost in your mind.  Just remember, you have to reaffirm some the prejudices of your audience, and be very unfair to whoever your target is.  Oh well, such is life.  There is no room for balance or explanation in a joke, you have to be as ruthless as a General.  See the weakness, and exploit it for all its worth.  Deny the goodness of your target.

If you cannot pick a person, then pick an experience with universal appeal.  But I prefer the well known person route, since we are talking of humour as a weapon here.  Also, remember that if you do pick an experience, do not make it too broad.  It has to be specific in what it entails.  Driving is not funny, women who manage to multi-task every single fucking thing in the world while driving, however, can be.

Hostility is next.  Comedy is cruel.  In our case, necessarily so, because we deal with cruel people in a cruel world.  This hostility is a powerful antidote to the hostility many of us feel to those we are surrounded by in our every day lives – it is a release, because we all have an element of hostility towards something.

Authority is a natural target the world over for comics.  Remember it, cherish it, use it.  People all around the world hate their leaders, their systems, the powers they have to labour under.  This humour is nihilistic – no one is too powerful or too pure to be beyond reproach.  Just remember lots of people have sympathy for the underdog, so direct that hostility upwards.

Next to authority, money and business are also perfect targets.  Aside from that, angst, the painful knowledge of the ugly reality, is another one.  Merchandising human suffering is the fuel which angst runs on.

Realism.  Like all good propaganda and disinformation, comedy contains a kernel of truth hidden within it.  Comedy is essentially telling the truth via lying, the use of juxtaposition, surprise and the bending of language to give life to an unexpressable reality.

Most of the facts of humour should be logical and obvious, but hidden via convention and expression so that we don’t quite apprehend them correctly.  A major deviation from reality wont prevent humour, however it will likely not be as funny as a joke based on reality is.

Exaggeration.  Ah, poetic licence.  Humour is what allows people to suspend disbelief, and this should be used to its full advantage.  Absurdity, hyperbole and outright lying are all acceptable because, as the exaggeration signals to us: hey, its only a joke.  Often the foil to the realism of the joke, the two are held up and follow from each other to create the incongruity that results in laughter.

Emotion.  Hostility alone is not enough emotion.  There has to be an element of anticipation within the audience, the joke has to be built up.  In effect, you create tension, then you release it.  The audience is wound up, then down.  You must, in effect, adopt a persona which can bring about this effect within an audience.  Almost always, the best way to do this is with a character that shows a sort of boundless, almost infectious energy.  You also have to know how to use language.  Where to stop, where to start, where to pause – there must be a rhythm to your delivery.

Stand-up in particular is more a funny man doing material than a man doing funny material.  To a degree, it becomes a self-fulfilling prophecy.  The man who is delivering the material is funny, therefore his material must be funny too.  This identity/rhetorical sleight of hand is not always true, but it is worth remembering and considering.  Delivery is key, and cannot be understated.

Surprise.  Of course, this was mentioned in the previous chapter, but merits a mention here as well.  Charlie Chaplin defined surprise in terms of a film scene in which the villain is chasing the heroine down the street.  On the sidewalk is a banana peel. The camera cuts swiftly back and forth from the banana peel to the approaching villain.  At the last second, the heavy sees the banana peel and jumps over it—and then falls into an open manhole.

The surprise cannot be telegraphed.  No matter what.  It must be genuine, or else it loses its impact.  You have to master the poker face, keep the audience in suspense for just long enough to pull the rug out from under them.

OK, this is getting far too long already, and I cannot possibly hope to include every single possible hint about comedy.  But keep these ideas in mind, play around with them, practice, and encourage creativity within humour!  And as you get better…put it to a use!

Chronotopic Anamorphosis

Chronotopic Anamorphosis from Marginalia Project on Vimeo.

This video shows the test of a software developed as a programming exercise.

The image is digitally manipulated by fragmenting it into horizontal lines and then combining lines from different frames in the display. The result is a distorsion of the figures caused by their motion in time, or, as Brazilian researcher Arlindo Machado calls it: chronotopic anamorphosis.

An Excercise

msia_yawa.jpgHello.  Rev. What’s-His-Name here.  I want to propose an excercise for you to do over the coming weekend.  (Or if you are reading this at some later time, do this whenever it seems to be a good time)

 Remember when you were a kid, and you pulled out all of your Mom’s pots and pans and pretended to be Alex Van Halen, or some other rock and roll drummer?  Do you remember how much fun that was, making all that racket?  I would like for you to relive that childhood pleasure.  Go home, find some common everyday objects, and make music.  If your significant other objects to you using the cookware, use a couple of tupperware tubs.  Just look around, experiment, discover the different timbres and sounds you can get from different objects.  If you have kids, have them join your jam band.  (Don’t actually use Jam, that would be messy)

If you feel like it, report back here, and post your results.  Tell me how it felt.  If you’re really ambitious and have the hardware, record it and post it.  Then, share this excercise with some friends and family. Have fun!