Robert Anton Wilson’s Take on War on Drugs

In an inter­view to dis­in­for­ma­tion the great Robert Anton Wil­son:Robert Anton Wilson‘There are two kinds of crimes. Crimes which every­body agrees are a crime, that’s crimes with vic­tims. If I get mugged or bur­glar­ized or some­body in my fam­ily gets hurt or killed I want the police tod o some­thing about it and I’m eager to coop­er­ate with them and so is every­body else of a sound and ratio­nal mind. We don’t want bur­glars and thieves and mug­gers and mur­ders run­ning around loose. On the other hand, when you’re try­ing to con­trol vic­tim­less crime, nobody is very eager to help the police.

Peo­ple who are smok­ing pot aren’t eager to turn them­selves in and their friends aren’t eager to turn them in, either, in most cases. The whores don’t want to turn in the Johns; the Johns don’t want to turn in the whores. The gam­blers don’t wnat to turn in the bet­tors; the bet­tors don’t want to turn in the book­ies and so on. Nobody wants to do any­thing about vic­tim­less crimes, mean­ing things that peo­ple do con­sen­su­ally that they want to do and that they’re enjoy­ing doing and there’s no vic­tim to be found any­where. So nobody wnats to help the police, ergo, the only way you can  wage a war against sin –which is want these vic­tim­less cri­imes laws are all about– the only way you can wage a war like that is by spy­ing on every­body more and more, cre­at­ing the appa­ra­tus of a total­i­tar­ian state, which means higher and higher taxes. This is why so many con­ser­v­a­tives lately are com­ing out in favor of end­ing the war on drugs: it’s get­ting so god­damned expensive.

The only way the gov­er­ment has any chance at all of win­ning is to estab­lish a total­i­tar­i­an­ism wack­ier and more total than Orwell’s 1984. We’ve already got the ‘Piss Police’ which is some­thing that Orwell dind’t even dream of. Even Franz Kafka couldn’t imag­ine a soci­ety so crazy that you have to give urine sam­ples before you can hold a job! There’s no way of win­ning with­out total­i­tar­i­an­ism far beyond any­thing ever prac­ticed by Hitler or Stalin or imag­ined by the wildest satirist. That’s the only way they can win. And that costs too damned much money. The peo­ple who are run­ning it, they’re not try­ing to win. They know they can’t win; they just want to keep the war going because it makes money for everyone.

It’s a won­der­ful excuse to increase police power and sur­veil­lance so that they know every­thing that we’re doing so that nobody can be plot­ting sub­ver­sion of any sort with­out them know­ing about it. Like the old joke goes, ‘When four men sit down to plot against the gov­er­ment, three of them are gov­er­ment agents and the fourth is a damned fool’. Well that’s get­ting more and more true all the time. The war on drugs is an excuse for more sur­veil­lance. They’re scared stiff of us. They’re more afraid of us than we are of them’.


Candid Interveiw with Genesis Breyer P-Orridge

Gen­e­sis Breyer P-Orridge is not famous to the main­stream, but she is a super­star to many. A found­ing mem­ber of the world’s first indus­trial band, Throb­bing Gris­tle, Gen­e­sis emerged from that orig­i­nal rebel­lion to form the group Psy­chic TV, and cre­ated around it a loose col­lec­tive of like-minded peo­ple called Thee Tem­ple ov Psy­chic Youth. TOPY’s mis­sion was to be a pos­i­tive force through prac­tic­ing rit­ual magic and D.I.Y. com­mu­nity build­ing. Gen­e­sis cre­ated the sym­met­ric sym­bol of the Psy­chic Cross to stand as an emblem of their tribe’s unity.

Col­lec­tiv­ity has been Gen­e­sis’ life’s work, and it was some­thing she shared inti­mately with her late wife, Lady Jaye. Through the prac­tice of “pan­dro­gony,” Gen­e­sis and Lady Jaye rit­u­al­is­ti­cally became one by wear­ing the same things, refer­ring to them­selves as “we,” (which Gen­e­sis still does) and even sur­gi­cally alter­ing their bod­ies to look sim­i­lar. Four years after Lady Jaye’s death, Gen­e­sis still believes in their bond and in their com­mit­ment to the community.

In this video, Gen­e­sis and Zeljko McMullen chat about the magic of names, gender/identity, the Book of Gen­e­sis, death and rebirth in one life­time, ded­i­cat­ing one’s efforts to cre­ation, the role of artist as shaman, life dis­rup­tion, indus­trial music, tech­nol­ogy and will, money and the impend­ing eco­nomic col­lapse, and the need for autonomous com­mu­ni­ties.


Where Children Sleep by James Mollison

Where Chil­dren Sleep- sto­ries of diverse chil­dren around the world, told through por­traits and pic­tures of their bedrooms.

James Mol­li­son explains: It occurred to me that a way to address some of the com­plex sit­u­a­tions and social issues affect­ing chil­dren would be to look at the bed­rooms of chil­dren in all kinds of dif­fer­ent cir­cum­stances. From the start, I didn’t want it just to be about ‘needy chil­dren’ in the devel­op­ing world, but rather some­thing more inclu­sive, about chil­dren from all types of sit­u­a­tions. It seemed to make sense to pho­to­graph the chil­dren them­selves, too, but sep­a­rately from their bed­rooms, using a neu­tral background.

The book is writ­ten and pre­sented for an audi­ence of 9–13 year olds ’ intended to inter­est and engage chil­dren in the details of the lives of other chil­dren around the world, and the social issues affect­ing them, while also being a seri­ous pho­to­graphic essay for an adult audience.


I’m So Excited, Almodóvar’s Next Movie

… and that’s the title of the movie, not sim­ply a descrip­tion of your men­tal state upon hear­ing about it.

After the grav­ity of Bro­ken Embraces (2009) and The Skin I Live In (2011), Pedro Almod­ó­var has decided to return to com­edy, a genre with which he broke in the 1980s, with his new film Los amantes pasajeros (lit. “Passenger/fleeting lovers”), for which shoot­ing started yes­ter­day, July 9, in Madrid. Described by the lat­ter as “a light, very light com­edy”, the film will be set almost entirely in a plane, which explains the pun in the film’s title: ‘pasajeros’ means both ‘pas­sen­gers’ and ‘fleet­ing’ (which is why the direc­tor from La Man­cha has decided that the film should be titled I’m So Excitedi n coun­tries where a trans­la­tion would not keep this dou­ble meaning.

As is usual with Almodóvar’s films, lit­tle is known about Los amantes pasajeros’s plot. In an inter­view with TVE, the direc­tor explained that the story is set mostly from the moment a plane breaks down to the moment it man­ages to make an emer­gency landing.

From a per­sis­tent leak­age of infor­ma­tion via main­stream and social media, we know that the film will have an ensem­ble cast made up of Javier Cámara, Cecilia Roth, Lola Dueñas, Raúl Aré­valo, Car­los Are­ces, Anto­nio de la Torre, Hugo Silva, Miguel Ángel Sil­vestre, and Blanca Suárez, with cameo appear­ances by Anto­nio Ban­deras, Pené­lope Cruz, Car­men Machi, and Paz Vega.

The film is pro­duced by the director’s brother, Agustín Almod­ó­var, for El Deseo. Recently, dur­ing the Madrid de Cine — Span­ish Film Screen­ings cel­e­bra­tions, the pro­ducer con­firmed that Los amantes pasajeros had already been sold world­wide and that these pre-sales have com­pletely funded the film, with­out any need for any finan­cial con­tri­bu­tion from the Span­ish market.

Los amantes pasajeros is set to be released in spring and is already from now, as is usual for Almod­ó­var, a can­di­date for the next edi­tion of the Cannes Film Fes­ti­val.


The LEGO Story — LEGO’s 80th Birthday

LEGO blocks are one of the most beloved toys in the world, play­ing a role in many a person’s child­hood. But for some cre­ators, LEGO has evolved from toy to art form.

The name ‘LEGO’ is an abbre­vi­a­tion of the two Dan­ish words “leg godt”, mean­ing “play well”. Coincidentally, Lego means “I put together” in Latin. The LEGO Group was founded in 1932 by Ole Kirk Kristiansen.

The com­pany has passed from father to son and is now owned by Kjeld Kirk Kris­tiansen, a grand­child of the founder. The LEGO brick is teir most impor­tant product. In cel­e­bra­tion of Lego’s 80th birth­day, the fol­low­ing ani­mated short film fea­tures the company’s path from wooden toys to the inter­lock­ing plas­tic pieces we’re so pas­sion­ate about today.

We have pre­vi­ously posted some other arti­cles por­tray­ing LEGO Cre­ations and a sim­i­lar prod­uct for the iPad gen­er­a­tion. If you are inter­ested  check out these posts too:

Lit­tleBits, LEGO for the iPad gen­er­a­tionAlan Turing’s Cen­te­nary and LEGO Mars Rover. You might also be ineter­ested in he Lost Art of Automa­tons. Finally, to leave you on a humor­ous note, watch below a Rage comic meme involv­ing LEGO.


Atari Teenage Riot’s 20th Birthday Party

2012 we cel­e­brate the 15 years anniver­sary of our album ‘Burn Berlin Burn’ with a two day show in Berlin!
Yes, we will play dif­fer­ent sets each night and it will be EPIC!
We also cel­e­brate the twenty year anniver­sary of Atari Teenage Riot– we released our first sin­gle back in 1992 and played our first shows back then!
But we also cel­e­brate the future! Our 5th stu­dio album “RESET” will be released right after the sum­mer of 2012! Most excit­ing year ever!’

The band – which formed in 1992 – was and is highly polit­i­cal. Their lyrics were anti-establishment; their sound mixed techno and punk to form a pul­sat­ing, con­trolled, but intense, rage. The influ­en­tial band – fea­tur­ing Alec Empire, Hanin Elias, Nic Endo and Carl Crack – released three full-length albums and numer­ous EPs/Singles before break­ing up in 2000, at the height of their success.

In 2001, Crack died, seem­ingly end­ing any chance of the band reform­ing. Empire con­tin­ued work­ing with his labels – Dig­i­tal Hard­core Record­ings and Eat Your Heart Out – and recorded sev­eral solo albums. He also became a sought after DJ and pro­ducer work­ing with a litany of acts includ­ing Bjork.

In 2010, ATR reformed an per­formed sev­eral gigs in Europe and Asia. After meet­ing Steve Aoki in Japan in 2010, the band decided to sign with Aoki’s Dim Mak label.

The band released their fourth full-length album, Is This Hyper­real?, in May 2011. The ATR line-up added CX KIDTRONIK join­ing orig­i­nal mem­bers Empire, Elias and Endo. After con­tin­u­ing per­for­mance and com­mit­ment issues with Elias, her rela­tion­ship with ATR ended in 2011.

Long live Dig­i­tal Hardcore!


RiP: A remix manifesto

Immerse your­self in the ener­getic, inno­v­a­tive and poten­tially ille­gal world of mash-up media with RiP: A remix man­i­festo.

Join film­maker Brett Gay­lor and mashup artist Girl Talk as they explore copy­right and con­tent cre­ation in the dig­i­tal age. In the process they dis­sect the media land­scape of the 21st cen­tury and shat­ter the wall between users and pro­duc­ers. Cre­ative Com­mons founder, Lawrence Lessig, Brazil’s Min­is­ter of Cul­ture, Gilberto Gil, and pop cul­ture critic Cory Doc­torow come along for the ride, but best of it all, Neg­a­ti­valnd also shows up.

If you want to stay with us a lit­tle more time, you can watch the whole movie below. Immerse your­self in the ener­getic, inno­v­a­tive and poten­tially ille­gal world of mash-up media with RiP: A Remix Man­i­festo. Let web activist Brett Gay­lor and musi­cian Greg Gillis, bet­ter known as Girl Talk, serve as your dig­i­tal tour guides on a prob­ing inves­ti­ga­tion into how cul­ture builds upon cul­ture in the infor­ma­tion age.


R.I.P. Neil Armstrong

It has been said that ten thou­sand years from now, only one name will still be remem­bered — that of Neil Arm­strong.

A quiet, pri­vate man, at heart an engi­neer and crack test pilot, Mr. Arm­strong made his­tory on July 20, 1969, as the com­man­der of the Apollo 11 space­craft on the mis­sion that cul­mi­nated the Soviet-American space race in the 1960s.

On that day, Mr. Arm­strong and his co-pilot, Col. Edwin E. Aldrin Jr., known as Buzz, steered their lunar land­ing craft, Eagle, to a level, rock-strewn plain near the south­west­ern shore of the Sea of Tran­quil­lity. It was touch and go the last minute or two, with com­puter alarms sound­ing and fuel run­ning low. But they made it.

Watch below the video of the very first moon land­ing of the apollo 11 mis­sion in 1969! Neil Arm­strong was the first man to set foot on the moon with his now leg­en­day words “One small step for man, a giant leap for mankind.” This is a truly amaz­ing video.

In the BBC doc­u­men­tary below, Andrew Smith, author of the best-selling book Moon­dust, jour­neys across Amer­ica to try and dis­cover the real Neil Arm­strong. He tracks down the peo­ple who knew Arm­strong, from his clos­est child­hood friend to fel­low astro­nauts and Hous­ton tech­ni­cians, and even the bar­ber who sold his hair, in a wry and side­ways look at the reluc­tant hero of the great­est event of the twen­ti­eth century.

Today, the world lost a great one. Neil Arm­strong has died at 82, after under­go­ing heart-bypass surgery ear­lier this month. Neil Armstrong’s death should be a wake-up call for the world.

Nobody born after 1935 has walked on the moon. Nobody since the nine­teen thir­ties. The chil­dren of eight decades since have still not made it back there, or reached fur­ther to touch the red dust of Mars.

Neil Armstrong’s death means that the first man on the Moon will never meet the first man on Mars. It is a chill­ing reminder that we are unlikely to reach another planet in the life­times of any of the sur­viv­ing Apollo astro­nauts. It may not hap­pen in my par­ents’ life­times. I’m begin­ning to lose faith that it will even hap­pen in my life­time. How have we allowed this to happen?


Emil Alzamora

Emil Alzamora’s fig­ural sculp­tures chal­lenge our con­cep­tions of the clas­si­cal body. At once beau­ti­ful and grotesque, his fig­ures writhe sen­su­ally in space, seem­ing to defy grav­ity as limbs extend and con­tort beyond their nat­ural lim­its. Alzamora works pri­mar­ily in gyp­sum and bronze, cre­at­ing unortho­dox forms that range from brob­d­ing­na­gian and life-size to miniature.

Emil Alzamora was born in Lima, Peru (1975) and raised in Boca Grande, Florida. He later attended Florida State Uni­ver­sity where he grad­u­ated Magna cum Laude in 1998 earn­ing a B. F. A. Alzamora is inter­ested in explor­ing what it means to inhabit a body, often exag­ger­at­ing or dis­tort­ing dif­fer­ent aspects of the form to reveal emo­tional or phys­i­cal situation.

The human form is a con­stant within my work. I often exag­ger­ate or dis­tort it to reveal an emo­tional or phys­i­cal sit­u­a­tion, or to tell a story. Lim­i­ta­tion and poten­tial are as human as the flesh, yet hardly as tan­gi­ble. In my works, I strive to make vis­i­ble this interaction.”

Alzamora ini­ti­ated his for­mal sculp­tural at Florida State Uni­ver­sity and honed his tal­ents at the Polich Art Works in New­burgh, New York, a sculp­tural foundry where he worked after grad­u­at­ing. In 2001, Alzamora left the foundry to prac­tice art full-time and con­tin­ues to do so at his cur­rent home and stu­dio in Bea­con, New York.

Michelan­gelo, Rodin, and Bernini really cap­tured some­thing beyond the mate­ri­als, some­thing beyond the arti­fi­cial­ity. They cre­ated a por­trait of some­thing that had the capac­ity to move you in some ways the way another human being can move you. It was a haunt­ing illu­sion of life that drove me to no end to want to cap­ture it, to find out what can be said in that context.”

Watch Emil in action below on a time-lapse video of his work­ing process.

Watch the sec­ond part here.


The Glitch Mob

The Glitch Mob is a three-piece elec­tronic music group from Los Angeles, California. It con­sists of edIT (Edward Ma), Boreta (Justin Boreta) and Ooah (Josh Mayer).  Creating their own futur­is­tic dance style with their noisy bass-driven elec­tro, their mate­r­ial recalled the more rau­cous ele­ments of works by elec­tronic pio­neers Aphex Twin and Autechre, as well as the heav­ier Euro­pean break­beat sound.

Watch below the video of their song Beyond Monday:

Their orig­i­nal musi­cal style com­bines hip-hop with aspects of glitch, drum ”n” bass, and myr­iad other elec­tronic styles. Making the tran­si­tion from DJing to live-music per­for­mance, The Glitch Mob at one point per­formed shows where each of them had a lap­top, and the three were synched together by MIDI.

Although the word “glitch is in the band’s name, the band says their name doesn”t mean that they play that styles per se. “We didn”t intend for that to mean any­thing con­crete,” Boreta says about the name. “[But] we did sort of use the glitch tech­nique of the stut­ter edit and the splat­ting, cut­ting and dic­ing of sounds.”

If you like what you’ve seen and hear so far about this band, lis­ten below to some mix-tapes from their Soun­Cloud site which you should also visit for some free down­loads and cover songs: