Audio Destructive Art - Johnny Pulp and the Lemonheads
Give Up Art_Save the starving.mp3
Urban Geography etc (Remastered).mp3
Debord and Baudelaire take tea (Remastered).mp3
Debord and Jorn and atoms and the vanguard mental disease (Remastered).mp3
new unconsumed environments (Remastered).mp3
auto-destructive art (Remastered).mp3
Murnau Project recap (Remastered).mp3
the world's complete without me.mp3
what you writing Mr Stewart Home (Remastered).mp3
hard core Johnny (Remastered).mp3
Sleeve Notes
Archive: Debord writes in "The Society of the Spectacle": "Tourism, human circulation considered as consumption, a by-product of the circulation of commodities, is fundamentally nothing more than the leisure of going to see what has become banal. The economic organisation of visits to different places is already in itself the guarantee of their equivalence. The same modernisation that removed time from the voyage also removed it from the reality of space." "This world tries to bring the most radical gestures under its wing: the avant-garde of its subculture serves to make it appear that the S.1. competes with, and is thereby equal to, Regis Debray who equals the Panthers who equal the Peace and Freedom Party which equals the Yippies who equal the Sexual Freedom League which equals the ads on the back which equal the price on the cover. The Barb, the Rat, Good Times, and so on - it makes no difference. Same old show, new markets." "The Practice Of Theory" by the American section of the (specto) Situationist International (included in "Situationist International" 1, New York 1969). "In the unprecedented cultural emptiness that has followed the war... in which the reigning class increasingly pushes art into a position of dependence... We find established a culture of individualism which is condemned by the very culture that has produced it; because its conventionality prevents the exercise of imagination and desire, and impedes vital expression... There cannot be a popular art, even if concessions such as active participation are made to the public, while art forms are historically imposed. Popular art is characterised by vital expression, which is direct and collective. "A new freedom is about to be born, one which will allow people to satisfy their creative desires. As a result of this process, the profession of artist will cease to occupy a privileged position; which is why some contemporary artists are resistant to it. In the period of transition, artistic creation finds itself at war with the existing culture, while simultaneously announcing a future culture. With this dual aspect, art has a revolutionary role in society". In this tract we can read what would, more or less, become the COBRA platform. "He who has the experimental spirit must necessarily be a communist" - Dotremont" ...buildings must not be squalid or anonymous, neither should they be show pieces from a museum; rather they must commune with each other, integrate with the environment to create synthesised 'cities' for a new socialist world." – Michel Colle ".....to speak of desire means to speak of the unknown, of the desire for freedom... The freedom of our social life, which we propose as a first commitment, will open the door to a new world... It is impossible to know a desire without satisfying it, and the satisfaction of desire is revolution... Today's culture, being individualistic, has replaced creation with 'artistic production', and has produced no more than signs of tragic impotence... To create is always to discover what one doesn't know... It is our desire that makes revolution". Constant". Isou Lettrism 1967....we will not be able to attain these new forms of organisation without a creative education based on the distinction between innovators and insignificant imitators. The credit system of commodities, whether reckoned ultimately in monetary terms or not, must be seized from the sedentary interns, the bureaucratic directors of banks. "All the riches in the economic sphere can only be manufactured and distributed, in terms of permanent creative change, through nuclear planning (promoted by our movement). "To the nobility of labour which results from the multiplicative, permanent creation of wealth, we must add the rotation of power, the rotation of positions of control. "Our aim is not to create simply a socialist or communist society, where men will work for pleasures both abundant and static. Our aim is to move toward an ideal society, in which men will live much more - having reduced the curse of work to a minimum - for an unbroken joy, for an ever-growing ecstasy." "Only crippled fanatics deprived of certain psychic dimensions, can reject outright a domain that is necessary to the spirit." Young lettrists after the chaplin affair "We believe that the most urgent exercise of freedom is the destruction of idols, especially when they present themselves in the name of freedom. The provocative tone of our leaflet was an attack against a unanimous, servile, enthusiasm. The disavowal by certain lettristes, including Isou himself, only reveals the constantly re-engendered incomprehension between extremists and those who are no longer so..." "A mental disease has swept the planet: banalisation. Everyone is hypnotized by production and conveniences - sewage system, elevator, bathroom, washing machine. "This state of affairs, arising out of a struggle against poverty, has overshot its ultimate goal - the liberation of man from material cares - and become an obsessive image hanging over the present... It has become essential to bring about a complete spiritual transformation by bringing to light forgotten desires and by carrying out an intensive propaganda in favour of these desires." Ivan Chtcheglov's "Formula For A New City". Written in 1953 Debord's "Introduction To A Critique Of Urban Geography" (published in the Belgian surrealist journal "Les Levres Nues" number 6, September 1955): "Psychogeography could set for itself the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals. The adjective, psychogeographical, retaining a rather pleasing vagueness, can thus be applied to the findings arrived at by this type of investigation, to their influence on human feelings, and even more generally to any situation or conduct that seems to reflect the same spirit of discovery." Debord and Wolman in "Methods Of Detournement" (published in "Les Levres Neus" number 8, May 1956): "The literary and artistic heritage of humanity should be used for partisan propaganda purposes... In fact, it is necessary to finish with any notion of personal property in this area. The appearance of new necessities outmodes previous "inspired" works. They become obstacles, dangerous habits. The point is not whether we like them or not. We have to go beyond them. "Any elements, no matter where they are taken from, can serve in making new combinations... It goes without saying that... one can... alter the meaning of... fragments in any appropriate way, leaving the imbeciles to their slavish preservation of 'citations' ." "Charles Baudelaire: A Lyric Poet In The Era Of High Capitalism" (NLB, London 1973) will illustrate this. The section begins with a citation from Baudelaire's "Flowers of Evil": "(Through the old suburb, where the persian blinds hang at the windows of tumbledown houses, hiding furtive pleasures; when the cruel sun strikes blow upon blow on the city and the cornfields, I go practicing my fantastic fencing all alone, scenting a chance rhyme in every corner, stumbling against words as against cobble stones, sometimes striking on verses I had long dreamt of.) "To give these prosodic experiences their due in prose as well was one of the intentions which Baudelaire had pursued in the "Spleen de Paris", his poems in prose. In his dedication of this collection to Arsene Houssage, the editor-in-chief of "La Presse", Baudelaire exposes, in addition to this intention, what was really at the bottom of these experiences. 'Who amongst us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and without rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and the sudden leaps of consciousness. This obsessive ideal is above all a child of the experiences of giant cities, of the intersecting of their myriad relations. '(...) "(...)The revealing presentations of the big city... are the work of those who have traversed the city absently, as it were, lost in thought or in worry. The image of fantasque escrine does justice to them; Baudelaire has in mind their condition which is anything but the condition of the observer. In his book on Dickens, Chesterton has masterfully captured the man who roams about the big city lost in thought. Charles Dickens's steady peregrinations had began in his childhood. 'Whenever he had done drudging, he had no other resource but drifting, and he drifted over half London. He was a dreamy child, thinking mostly of his dreary prospects... He walked in darkness under the lamps of Holborn and was crucified at Charing X... He did not go in for "observation", a priggish habit; he did not look at Charing X to improve his mind or count the lamp-posts in Holborn to practice his arithmetic... Dickens did not stamp these places on his mind; he stamped his mind on these places.' " 2nd exhibition of Nuclear Art (Gallery Apollo, Brussels, February 1952), Baj and Dangelo issued the group's first manifesto in which they state that: "The Nuclearists desire to demolish all the 'isms' of a painting that inevitably lapses into academicism, whatever its origins may be. They desire and have the power to recreate painting. "Forms disintegrate: man's new forms are those of the atomic universe; the forces are electrical charges. Ideal beauty is no longer the property of a stupid hero-caste, nor of the 'robot'. But it coincides with the representation of nuclear man and his space. "Our consciences charged with unforeseen explosions preclude a FACT. The Nuclearist lives in this situation, of which only men with eyesight spent can fail to be aware. "Truth is not yours, it lies in the ATOM. "Nuclear painting documents the search for this truth." – Pataphysics '53 Jorn announced, in a letter to Baj, the formation of the International Movement For An Imaginist Bauhaus (IMIB): ".....a Swiss architect, Max Bill, has undertaken to restructure the Bauhaus where Klee and Kandinsky taught. He wishes to make an academy without painting, without research into the imagination, fantasy, signs, symbols - all he wants is technical instruction. In the name of all experimental artists I intend to create an International Movement For An Imaginist Bauhaus....." "What is termed culture reflects, but also prefigures, the possibilities of the organization of life in a given society. Our era is fundamentally characterised by the lagging of revolutionary political action behind the development of modem possibilities of production which call for a superior organisation of the world." Debord "The surrealist programme, asserting the sovereignty of desire and surprise, proposing a new use of life, is much richer in constructive possibilities than is generally thought... But the devolution of its original proponents into spiritualism... obliges us to search for the negation of the development of surrealist theory in the very origin of this theory... The error is... the idea of the infinite richness of the unconscious imagination... its belief that the unconscious was the finally discovered force of life, and its having revised the history of ideas accordingly and stopped it there... the discovery of the role of the unconscious was a surprise, an innovation, not a law of future surprises and innovations. Freud had also ended up discovering this when he wrote, "Everything conscious wears out. What is unconscious remains unaltered. But once it is set loose, does it not fall into ruins in its turn?" Debord: (more evil vanguardism) "The construction of situations begins on the ruins of the modem spectacle. It is easy to see to what extent the very principle of the spectacle - non-intervention - is linked to the alienation of the old world. Conversely, the most pertinent revolutionary experiments in culture have sought to break the spectator's psychological identification with the hero so as to draw him into activity by provoking his capacities to revolutionise his own life." ".....we have to eliminate the sectarianism among us that opposes unity of action with possible allies for specific goals and prevents our infiltration of parallel organisations." "...We oppose the logical way of mind which has led to cultural devastation. The automatic, functional attitude has led to stubborn mindlessness, to academicism, to the atom bomb... In order to be created, culture must be destroyed. Such terms as culture, truth, eternity, do not interest us artists. We have to be able to survive. The material and spiritual position of art is so desperate that a painter should not be expected to be obliging when he paints. Let the established do the obligatory... Art is a resounding stroke of the gong, its lingering sound the raised voices of the imitators fading into thin air... Art has nothing to do with truth. Truth lies between entities. To want to be objective is one-sided. To be one-sided is pedantic and boring... WE DEMAND KITSCH, DIRT, PRIMEVAL SLIME, THE DESERT. Art is the dung-heap upon which kitsch grows... Instead of abstract idealism we call for honest nihilism. The greatest crimes of man are committed in the names of Truth, Honesty, Progress, for a better future. Abstract painting has become empty aestheticism, a playground for the lazy-minded who seek an easy pretext for the chewing-over once again of long outdated truths. Abstract painting is a HUNDREDFOLD MASTICATED PIECE OF CHEWING GUM stuck underneath the edge of the table. Today the Constructivists and the structuralist painters are trying to lick off this long-dried-up piece of chewing gum once again... WE SHALL SET AGAINST THIS OBJECTIVE NON-COMMITALISM A MILITANT DICTATORSHIP OF THE SPIRIT." The "Spur" magazine Fifth Conference of the SI in Goteborg, Sweden, 28-30th August '61. Vaneigem's report demonstrated the intransigence of the 'political' faction: "...It is a question not of elaborating the spectacle of refusal, but rather of refusing the spectacle. In order for their elaboration to be artistic in the new and authentic sense defined by the SI, the elements of the destruction of the spectacle must precisely cease to be works of art. There is no such thing as situationism or a situationist work of art or a spectacular situationist... Our position is that of combatants between two worlds - one that we don't acknowledge, the other that does not yet exist." Nash:"Who Are The Situationists?" (Times Literary Supplement, London, 14/9/64): ".....The point of departure is the dechristianisation of Kierkegaard's philosophy of situations. This must be combined with British economic doctrines, German dialectic and French social action programmes. It involves a profound revision of Marx's doctrine and a complete revolution whose growth is rooted in the Scandinavian concept of culture. This new ideology and philosophical theory we have called situology. It is based on the principles of social democracy in as much as it excludes all forms of artificial privilege." S ou B's leading theoretician, Cornelius Castoriadis, writing under the pseudonyms first of Pierre Chaulieu and later of Paul Cardan, derived the following general conclusions: "(i) that the Soviet Union must now be regarded as a form of exploitative society called state - or bureaucratic - capitalist; "(ii) that in this the Soviet Union was only a more complete variant of a process that was common to the whole of capitalism, that of bureaucratization; "(iii) that because of this the contradiction between propertyless and property-owners was being replaced by the contradiction between "order-givers and order-takers" and that the private bourgeoisie was itself evolving via concentration and centralization of capital into a bureaucratic class; "(iv) that the advanced stage this process had reached in the Soviet Union was largely the result of the Leninist-Bolshevik conception of the Party, which seizes State power from the bourgeoisie on behalf of the workers and thence necessarily evolves into a new ruling class; "(v) that capitalism as a whole had overcome its economic contradictions based on the tendency of the rate of profit to fall, and that therefore the contradictions between order-givers and order-takers had become the sole mainspring of revolution, whereby the workers would be driven to revolt and achieve self-management only by the intolerable boredom and powerlessness of their lives, and not by material deprivation." Martin, Strijbosch, Vaneigem and Vienet included in "Internationale Situationiste 9" (Paris 1964): "It is now a matter of realising art, of really building on every level of life everything that hitherto could only be an artistic memory or an illusion, dreamed and preserved unilaterally. Art can be realized only by being suppressed. However, as opposed to the present society, which suppresses it by replacing it with the automatism of an even more passive and hierarchical spectacle, we maintain that art can really be suppressed only by being realized." "Internationale Situationiste 10", Khayati asserts: "...Dada realized all the possibilities of language and forever closed the door on art as a speciality... The realization of art - poetry in the situationist sense means that one cannot realize oneself in a "work", but rather realizes oneself period." Guy Debord's "La societe du spectacle" (Buchet-Chastel, Paris, 1967 - English translation Black & Red, Detroit, 1970). In this, paraphrasing Marx, Debord announces: "The entire life of societies in which modem conditions of production reign announces itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation." "...the first great 'defeat' of the proletarian power, the Paris Commune, is in reality its first great victory in that for the first time the early proletariat demonstrated its historical capacity to organize all aspects of social life freely. Whereas its first great 'victory', the Bolshevik revolution, ultimately turned out to be its most disastrous defeat.. The results of the Russian counterrevolution were, internally, the establishment and development of a new mode of exploitation, bureaucratic state-capitalism, and externally, the growth of a "Communist" International whose spreading branches served the sole purpose of defending and reproducing their Russian model... in spite of apparent variations and oppositions, a single social form dominates the world, and the principles of the old world continue to govern our modern world. The tradition of the dead generations still haunts the minds of the living... there can be no revolution outside the modem, nor any modem thought outside the reinvention of the revolutionary critique... As Lukas correctly showed, revolutionary organisation is this necessary mediation between theory and practice, between man and history, between the mass of workers and the proletariat constituted as a class... Everything ultimately depends on how the new revolutionary movement resolves the organisation question... the critique of ideology must in the final analysis be the central problem of revolutionary organisation." Khayati's style is that of a pompous academic. monomorphic neo-haiku flux-event' "Fluxus goals are social (not aesthetic). They (ideologically) can be related to those of the 1929 L.E.F. Group in the Soviet Union and are set up like this: step by step elimination of the Fine Arts (music, drama, poetry, painting, sculpture etc etc). This motivates the desire to direct wasted material and human capabilities towards constructive goals such as the Applied Arts: industrial design, journalism, architecture, engineering, graphic and hypographic arts, printing etc, which are all areas that are closely related to the fine arts and offer the artist better career opportunities." George Maciunas addressed these words to Thomas Schmit in a letter of January '64. "Fantastic Architecture" edited by Wolf Vostell and Dick Higgins (Something Else Press, New York, 1969). Vostell sets the tone of the book in his introduction: "This documentation of ideas and concepts of a new polymorphous reality is offered as evidence of the new methods and processes that were introduced by Fluxus, Happening, and Pop. A demand for new patterns of behaviour - new unconsumed environments. The accent in all the works in this book lies in change. ie expansion of physical surroundings, sensibilities, media, through disturbance of the familiar. Action is architecture! Everything is architecture! A new life. Ruhm's Wien built of the letters in the German name for Vienna - Hollein's aircraft carrier as a city for 30,000 inhabitants - Oldenburg's alteration of the Thames - my super highway as a cathedral environment - are all utopias containing more breadth and visualisation of present-day thought than the repressive architecture of bureaucracy and luxury that imposes restrictions on people. Everything is forbidden. Don't Touch! No spitting! No Smoking! No thinking! No living! Our projects - our environments are meant to free men - only the realisation of utopias will make man happy and release him from his frustrations! Use your imagination! Join in... share the power! Share property!" Maciunas had written: "PURGE the world of bourgeois sickness, "intellectual", professional & commercialized culture, PURGE the world of dead art, imitation, artificial art, abstract art, illusionistic art, mathematical art, PURGE THE WORLD OF "EUROPEAN1SM" !... (...)PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, Promote living art, anti-art, promote NON ART REALITY to be grasped by all peoples, not only critics, dilettantes and professionals... (...)FUSE the cadres of cultural, social & political revolutionaries into united front & action." "In 1957 I had reached a strong dissatisfaction with the materials of painting. I needed something tougher to work against than board. The following year I did a series of paintings on mild steel. I used a palette knife which in the course of paint application scraped and incised the steel, giving reflections, This did not satisfy either, I wanted to use some of the machinery I had been reading about in the "Financial Times", Presses of tremendous power that respond to a minute fraction of an inch. I wanted to make sculptures with these machines, controlling them rather like an organist does his instrument. It was months after I had given up these plans, partly because of the extreme difficulty of realising them, that I hit on the idea of auto-destructive art. Looking back on my development, I see that I had exhausted the medium of paint on canvas as far as the expression of a fast, intense vision was concerned. In 1960, with the acid on nylon technique, I had found it" "Auto-Destructive Art", was issued in November 1959. This proclaimed: "Auto-destructive art is primarily a form of public art for industrial societies. Self-destructive painting, sculpture and construction is a total unity of idea, site, form, colour, method and timing of the disintegrative process. Auto-destructive art can be created with natural forces, traditional art techniques and technological techniques. The amplified sound of the auto-destructive process can be an element of the total conception. The artist may collaborate with scientists, engineers. Self-destructive art can be machine produced and factory assembled. Auto-destructive paintings, sculptures and constructions have a life time varying from a few moments to twenty years. When the disintegrative process is complete the work is to be removed from the site and scrapped." "Acid action painting. Height 7 ft, Length 12' 6". Depth 6ft Materials: nylon, hydrochloric acid, metal. Technique. 3 nylon canvases coloured white black red are arranged behind each other, in this order. Acid is painted, flung and sprayed onto the nylon which corrodes at point of contact within 15 seconds. Construction with glass. Height 13 ft. Width 9' 6". Materials. Glass, metal, adhesive tape. Technique. The glass sheets suspended by adhesive tape fall on to the concrete ground in a pre-arranged sequence." "The... construction is to be about 18 feet high with a base about 24 ft, by 18 ft... It consists of mild steel 118 inch thick. The structure consists of three slabs. These highly polished forms exposed to an industrial atmosphere would start to corrode. The process continues until the structure gets weakened by the loss of material. In about ten years time most of the construction will have disintegrated. The remaining girder will then be removed and the site cleared. This is a fairly simple form of auto-destructive art and not expensive compared with the next project This sculpture consists of five walls or screens, each about 30 feet in height and 40 feet long and 2 feet deep. They are arranged about 25 feet apart and staggered in plan. I envisage these in a central area between a group of three very large densely populated blocks of flats in a country setting. Each wall is composed of 10,000 uniform elements. These could be made of stainless steel, glass or plastics. The elements in one of the walls could be square or rectangular and in another wall they could be hexagonal. The principle of the action of this work is that each element is ejected until finally after a period of ten years, the wall ceases to exist I propose the use of a digital computer that will control the movement of this work. This would be housed underground in the centre of the sculpture complex... ... The third project I would like you to consider is in the shape of a 30 ft cube. The shell of the cube is in steel with a non-reflective surface. The interior of the cube is completely packed with complex, rather expensive, electronic equipment. This equipment is programmed to undergo a series of breakdowns and self- devouring activities. This goes on for a number of years - but there is no visible trace of this activity. It is only when the entire interior has been wrecked that the steel shell is pierced from within. Gradually, layer after layer of the steel structure is disintegrated by complex electrical, chemical and mechanical forces. The shell bursts open in different parts revealing the wreckage of the internal structure through the ever changing forms of the cube. Finally, all that remains is a pile of rubble. This sculpture should be at a site around which there is considerable traffic." "When Will The Berlin Department Stores Burn": ".....Our Belgian friends have finally caught on to how they can really draw the public into the lustful activities in Vietnam. They set fire to a department store, 300 satiated citizens and their fascinating lives and Brussels becomes Hanoi. No one reading his paper at an opulent breakfast table need shed any more tears for the poor Vietnamese people, for today he has only to go to the clothing department of Ka De We, Hertie, Woolworths, Bika or Neckerman and discreetly light a cigarette in a changing room..." Vittore Baroni explained the genesis of his own multiple name project: "... My Lt. Murnau project (1980-1984) was an attempt to study how ... musical myths are built... today, all these cult-underground bands, how far you can push an Image without a Sound. I started with spreading a lot of leaflets and announcements using the image of film-maker W.F. Murnau in his army uniform and the name Lieutenant Murnau that I found mysterious and evocative enough. I did the first cassette for VEC- Holland "Meet Lt. Murnau" just mixing, breaking, manipulating all the Beatles and Residents records. The idea is that Lt. Murnau uses existing music without having to use instruments or compose notes. Then I tried to confuse ... the audience having Murnau cassettes and records released in different countries by different people: Jacques Juin in Germany ... the 7" EP "Janus Head", with Grafike Airlines in Belgium the cassette package "The Lt. Murnau Maxi-single" (C30). Then there were several more cassettes, contributions to compilations, graphic works in magazines, etc ... A lot of texts etc are enclosed with the various packages ... I also did a concert-performance as Lt. Murnau, with mask, cutting and playing different records + crucifying a Beatles record etc. And I did in 1980 a programme ... "La Testa di Giano" for national Radio One in Italy, using Murnau materials. I printed and circulated hundreds of life-size cardboard masks of Lt. Murnau, that people could wear. Anybody could do Murnau music and become Lt. Murnau, and a few people did it. At the concert I distributed masks to the audience and then filmed them ... as they "become" Lt. Murnau as well. The main problem I found is that very few people were interested in working for a project that they felt belonged to myself, even if I tried to keep it mysterious in its origins. So in the end I always did 99% of the work, even if Jacques Juin did a lot of Murnau work in 1980 -81 and a few others contributed nice work (Michael Vanherwegen, Roger Radio, among others). The whole project was focussed on a very limited area, that of underground music, so it did not have the more varied overtones of the Monty Cantsin philosophy. Yet, I think the problems are the same ... The fact is that to participate you had to really work collectively, and this is something few in the art circles like to do without having their name in big letters ... " Tony Lowes's "Give Up Art/Save The Starving" campaign represents the more extreme wing of this tendency: "Seeing and creating an image are the same activity. Those who create art are also creating the starving. Our world is a collective illusion. It is a great irony that the myth of the artist celebrates suffering, while it is those who have never heard of art, those enduring famine and drought and endemic diseases, who are the true poor and wretched of our world. And in this perversion of once a religious quest, today's artists deny that they are more than labourers, deny art itself, and so move to close off to man the light inside him. "Art is now defined by a self-perpetuating elite to be marketed as an international commodity, a safe investment for the rich who have everything. But to call one man an artist is to deny another the equal gift of vision; - and to deny all men equality is to enforce inequality, repression, and famine. "Everything that is learned is alien. Our histories are built on the heritage left by men who learned only to replace one concept with another. We strive to grasp what we do not know when our problems will be solved not by new information, but by the understanding of what man already knows. It is time to re-examine the nature of thought. Fictions occupy our minds and art has become a product because we believe ourselves and our world to be impervious to fundamental change. So we escape into art. It is our ability to transform this world, to control our consciousness, that withers on the vine. "We need to control our own minds, to behave as if the revolution has already taken place. Paint all the paintings black and celebrate the dead art. We have been living at a masqued ball: what we think of as our identity is a schooled set of notions, preconceptions that are imprisoning us in history. From our own belief in our own identity flows ceaseless misery - our isolation, our alienation, and our belief that another man's life is more interesting that our own. "It is only through valuing all the world equally that any of us will find liberation. An end to history is our rightful demand. To continue to produce art is to addict ourselves to our own repression. The refusal to create is the only alternative left to those who wish to change the world. Give up art. Save the starving," Napoleon Moffatt gave an important 'pre-war' conference entitled "The Legitimacy Of Akademgorod": "I'm in search of AKADEMGOROD. I'm still searching for AKADEMGOROD. AKADEMGOROD is the city of scientists in Russia, in Siberia. It is a city built for destruction. It is also a city where all the brains of Russia think and create the END.Neoists should be in search of the city of scientists, in search of AKADEMGOROD. The project is to find the city of AKADEMGOROD and, by being there,justify the city. Neoists are living, are surviving by eating high technology. I'm ephemerally here, in this city, to ask you to join the crusade for AKADEMGOROD. The goals of the crusade are to find the city and then establish the reality of Neoism into the reality of AKADEMGOROD. BE A PART OF AKADEMGOROD." "NEODAYONE The principle player does not think about art for twentyfour hours. NEODAYTWO The principle player does not eat for twentyfour hours. NEODAY THREE The principle player makes a pot of tea in the traditional manner. A sufficient amount of water for the persons present is boiled in the kettle. Just before this water boils some is poured into a teapot and swirled around its interior. Thereby heating the teapot. A teaspoonful of tealeaves per person plus one for the pot is put into the hot teapot. Enough boiling water for the persons present is poured into the teapot. The lid is put on the teapot. The teapot is allowed to stand for five minutes. For the tea to fuse. It is then served to the persons present. With milk and sugar if preferred. Timing is critical. NEODAYFOUR The principle player does not sleep for twentyfour hours. NEODAYFIVE The principle player does not communicate for twentyfour hours. NEODAYSIX The principle player cuts his finger nails and his toe nails. The clippings are put into a suitable receptacle. Later during this day the persons present take their nail clippings to a mutually agreed site. Possibly the site of the Neofire. These clippings are scattered onto the ground. NEODAYSEVEN The principle player sifts the ashes of the dead Neofire. Taking out the lumps of charcoal. The fire ash is put into a container. Samples from this container are put into plastic bags which are sealed. Labelled. Stamped. Dated. And mailed to known Neoist sympathisers."What you writing now Mr Stewart Home Pure Mania (1989) Defiant Pose (1991) Red London (1994) Slow Death (1996) Blow Job (1997) Come Before Christ and Murder Love (1997) Cunt (1999) Whips & Furs: My Life as a bon-vivant, gambler & love rat by Jesus H. Christ (2000) 69 Things to Do with a Dead Princess (2002) Down and Out in Shoreditch and Hoxton (2004) Tainted Love (2005) Memphis Underground (2007) Blood Rites of the Bourgeoisie (2010) Mandy, Charlie & Mary-Jane (2013) The 9 Lives of Ray The Cat Jones (2014) She's My Witch (2020) Art School Orgy (2023) No Pity (1993) Neoism, Plagiarism and Praxis (1995) Disputations on Art, Anarchy and Assholism (1997) Confusion Incorporated (1999) Send CA$H (2018) Re-Enter The Dragon (2018) Write on to the revolution Write on to the revolution Write on to the revolution hahahahaha Johnny Pulp was begun in 2024 as a form of disintegrating the modern capitalist art music scene by using an AI program 3.5 and occasionally 4.0 betal upgrade whereby music is produced and sung by the machine the anonymous elements taken to the nth degree - no singer, no band other than a machine tool - lyrics are designed to feed into the new space carved out by this. Now the great curse of modern living - the banal and the cultural bureaucracies that patrol the silos and keep everyone in their place are hollowed out and exposed through a bombardment of machine art that requires no talent no hierarchies no market and so undermines the co-opted products of the cultural industrial complex that now totally effaces the obvious issues of poverty of life. There is a need to imagine what might be were things arranged differently - a fusion of modern Nietzschean moral psychology and economic Marxism combining. The streets of London are ready to explode once more but the energies are hidden and must be dug out. Dreams come and we have to plunder desire. We have to unfold ourselves and resist the ones who think revolution isn't possible. Revolution is desire and it is coming. It is coming. I will ravage the streets and all who walk there. I will tear down the symbols of death . I will burn everything. These are not songs. This is not music. This is a first hint at what's to come. It's been coming since the start of days. Asceticism is over. Your censorship is over. Your money is over. Your time is over. Your body is over. Be brave. This is cosmic. This is to the core. Hard core. This is hard core. We all want hard core. Johnny Pulp is hardcore. At last. This is what you have to do. Go hardcore with Johny. Go hardcore with Johny. Go hardcore with Johny. Go hardcore with Johny. Go hardcore with Johny. Go hardcore with Johny. nasty... haha