Pierre Huyghe - One Million Kingdoms: Mjesec je središte Zemlje

Djevojčica koja je pala na Mjesec. Putovanje u središte fikcije. Anime-djevojčica luta Mjesečevim pejzažem a glas astronauta "Neila Armstronga" određuje joj svojim hipnotizirajućim rečenicama korak i scenografiju. Taj glas istodobno je njezin vlastiti. Kao kod Juliana Jaynesa: najintimniji glasovi stižu nam iz "druge sobe" naše svijesti. Prva "Armstrongova" rečenica je: "Ovo je laž." Fikcija i istina dolaze kao transmisije iz romana, filmova, svemira, ljudskih glasova, "pravih" i "lažnih" identiteta. U jednom trenutku prestrašio sam se da bi riječi koje čujem mogle biti moje vlastite, njihova jeka. Jesu li Armstrongove transmisije samo jeka maštarija Julesa Vernea, i obratno? Samima sebi uvijek stižemo izdaleka, s Mjeseca ili iz središta Zemlje, svejedno.

"One Million Kingdoms, 2001, is the most recent in a series of animated films in which a Japanese anime character, the brooding young girl AnnLee, is inserted into various dramas. Here she is dropped into a lunar landscape that is mapped out and developed in correspondence with the rises and falls of the narrator's voice - tinny, at times labored - digitally derived from a recording of Neil Armstrong. The stories of the first moon landing, in 1969, and of Jules Verne's 1864 novel Journey to the Center of the Earth have been conflated here in a conspiracy theory of the faked and the fantastic. Armstrong's first words - It's a lie - prompt AnnLee, as she moves from place to place on a constantly fluctuating terrain, in which mountains, craters, ridges, and outcroppings rise and fall according to the intonations of the narrator's voice. His words blur the fictional and factual, using language that derives from distinct genres and centuries—Verne's work of fiction and Armstrong's and Buzz Aldrin's presumably true transmissions of their experience during the landing of Apollo 11's lunar module. Thus the landscape of AnnLee is a shifting terrain determined by utterances, which chart both the real and the imaginary. 

..In Pierre Huyghe's One Million Kingdoms, a voice maps out unexplored lunar terrain. The voice belongs to a Japanese Manga character named AnnLee, for which Huyghe, along with artists Dominique Gonzalez-Foerster and Philippe Parreno, purchased the copyright in 1999. Featured in previous works by the three artists, here this brooding young girl speaks in a voice that is an electronically altered version of the astronaut Neil Armstrong's communiqués from the first moon landing; the text she recites conflates Armstrong's historic utterances with excerpts from Jules Verne's 1895 novel Journey to the Center of the Earth. Armstrong's words prompt AnnLee as she moves from place to place on a constantly fluctuating landscape, in which mountains, craters, ridges, and outcroppings rise and fall according to the sound waves of his (her) voice."


"Using time, memory, and the texture of everyday experience as his mediums, Pierre Huyghe conflates the traditional dichotomy between art and life. Working in an array of cultural formats—from billboards and television broadcasts to community celebrations and museum exhibitions—he reformulates their codes and deploys them as catalysts for creating new experiential possibilities. A mode of perception that lies in the interstices between reality and its representation is the subject of his two-channel video, The Third Memory, which reenacts the 1972 hold-up of a Brooklyn bank immortalized in Sidney Lumet's acclaimed film Dog Day Afternoon (1975). Almost 30 years later, Huyghe provides a platform for the heist's charismatic mastermind, John Wojtowicz, to relate his version of that infamous day in a reconstructed set of the bank. However, rather than clarify the personal history that Hollywood wrested from him, Wojtowicz appears to have been heavily influenced by the film, a testament to the inextricable merging of real events, the distortions of memory, and the mediating power of popular culture.
The tension between fact and fiction is also at play in One Million Kingdoms, a work conceived as part of the collaborative project No Ghost Just a Shell, in which a manga character named Annlee is inserted into multiple artistic contexts. In Huyghe's animation, this adolescent girl wanders through a shifting lunar topography and, speaking in a digitally synthesized form of astronaut Neil Armstrong's voice, delivers a narration blending the actual transmissions from the Apollo 11 mission with excerpts from Jules Verne's 1864 novel Journey to the Center of the Earth. Annlee appears as a translucent outline, an empty cipher for creative interpretation. Yet at the same time, she is literally the author of her own environment: the mutating features of the landscape through which she walks are generated by the inflections of her own voice. Huyghe's own experience provides the starting point for This is not a time for dreaming. The film documents a puppet show that tells the parallel stories of the modernist architect Le Corbusier's commission to design the Carpenter Center for Visual Arts at Harvard University, and Huyghe's own commission to create an artwork to celebrate the building's 40th anniversary. Shifting back and forth in time, the narrative weaves together historical and contemporary events with fantastical elements, in an allegorical representation of the struggles and compromises inherent in the creative process." - Guggenheim colelction

"An animated neon waif walks across the screen while a male voice speaks and subtitles run. In the background, icebergs sprout and recede like a sea of cubist stalagmites. Subtitles inform us that Jules Verne began the epic journey in A Journey to the Center of the Earth in the same region of Iceland that NASA practiced lunar rover operations. The narrator’s voice sounds like an astronaut speaking through a space helmet. A couple of phrases stand out: “prepare us for the spectacle of isolation” and “we want to enter the unknown where the greatest mysteries are under our footsteps.”
It is hard to understand the distorted soundtrack, especially while reading the seemingly unrelated subtitles and watching the cartoon all at once. Each element of the piece requires focusing on it to the exclusion of all other elements. The viewer is required to deconstruct the piece in order to take it all in. Eventually the video ends, somewhat arbitrarily.
Reading the exhibition catalog, one finds out that the cartoon waif’s name is Annlee, and the rights to her image were purchased and in turn loaned to thirteen artists to create artwork—a digital Mono Lisa pimped out to the highest bidder. One Million Kingdoms is one in a thirteen-part series titled No Ghost Just A Shell, inspired by the animated Japanese film Ghost In the Shell. Got that? There’s more. The narrator’s synthetic voice is in fact Neil Armstrong reading from A Journey to the Center of the Earth.
The visual simplicity of One Million Kingdoms belies the density of Verne’s nineteenth-century text and, ultimately, the artist’s intention. Huyghe states, “In this piece, Annlee is expressing the consequences of what we do. She is walking in the consequence of what she is planning and what she is saying.” OK, but Annlee looks like she’d be a lot happier on Venice Beach with a skateboard. There is too much going on, threaded together in a way that makes the whole less than the sum of its parts.
... Huyghe’s work, like most post modern gestures, is at odds with itself, unable to saturate our senses or complete a thought. We are constantly required to shift gears from reading to listening to viewing; the magic of instant effect is sacrificed. Paradoxically, this halting quality is exacerbated by what seems to be the static nature of video. Unlike painting and sculpture, video runs at one speed unless you’ve got a remote control. You can neither breeze past it nor linger over it. Its temporal quality is rigid. And unlike painting and sculpture, video lacks a sensual, material presence underlying the viewing experience, appealing instead to the narrative regions of our brains. Huyghe’s blending of fiction and history is intriguing, but if it is possible for art to be more layered and dependant on the crutch of written explanation, one shudders." -Kevin Bouchard

Još o Huygheu:

William Greaves – Symbiopsychotaxiplasm (1968. i 2005.)

Eksperimentalni meta-dokumentarac o snimanju filma: ispiranje čiste stvarnosti (reality) iz artificijelne metatekstualne petlje: dokumentarca unutar dokumentarca unutar dokumentarca… Režiser pušta glumce koji u Central Parku glume par koji se svađa da sami shvate o čemu je u filmu riječ i što se zapravo događa. Snimateljska ekipa snima snimateljsku ekipu i također ne hvata sve konce. Slučajni prolaznici upadaju u kadar. Film koji snima vlastito (neuspjelo) nastajanje i postupno raspadanje… u što? Je li "stvarnost" moguća samo kao efekt u fikcionalnom kontekstu? I obratno - dobivamo li u "realnom životu" samo meta-fikcijske petlje (pogrešne percepcije pogrešnih percepcija..)? Postmodernistička pitanja koja navodno više nikoga ne zanimaju?

Take One je iz 1968. a 2005. snimljen je i Take Two.

Cijeli film (iz 1968.) je na Vimeu


„Don’t let the odd title put you off! It’s just some funny word meaning how things can become interconnected. Cinematically, it contains both “Psycho” and “Taxi” so how can the film be bad? And imagine how smart you’ll sound when it rolls off your tongue in front of your friends.
Symbiopsychotaxiplasm is an experimental meta-documentary by William Greaves, a documentary filmmaker and actor. The premise is very simple: Greaves auditions couples in Central Park, repeatedly running them through the same inane dialogue. Meanwhile, his crew films him filming, increasingly turning the camera on themselves to express their growing unease with Greaves’s (deliberate) lack of direction. From this cascades a loosely controlled experiment in dissolution, which quickly becomes intensely dramatic and absorbing… It’s proto-reality TV!
Greaves later revisited the project, aided by Steven Soderbergh and Steve Buscemi, in the mid-2000s, to make another version, Take 2 1/2. That you can get on the wonderful Criterion release, which the video below is taken from.“ – AD Jameson

„Seeing this singular 1968 American experimental feature by William Greaves a second time (on video; the first time was in 1981, in its original 35-millimeter format) has led me to value it more, though arguably the fact that it loses relatively little impact on video constitutes one of its limitations. Greaves, a pioneering black actor whose career stretches back to postwar films made for black audiences as well as the underrated Hollywood feature Lost Boundaries, went on to direct over 200 documentaries, host and executive produce NET’s Black Journal, and teach acting at the Lee Strasberg Theatre Institute. For this eccentric venture, he got two white actors to play a quarreling couple in Central Park and proceeded to film not only them (in both rehearsal and performance) but also himself and his camera crew and various other people in the vicinity, often juxtaposing two or three camera angles simultaneously in split screen in the final edit. The crew’s own doubts and speculations about the film being made were also recorded later and edited into the mix. The couple’s quarrel is vitriolic and singularly unpleasant, the acting variable, the collective insight into what Greaves is up to mainly uncertain. The title modifies a term coined by political scientist and philosopher Arthur Bentley that refers to the interactions between people and their environment, and the notion of a shifting center is what gives this experiment much of its interest and also limits it from going very far in any single direction.“ - Jonathan Rosenbaum

Dan Graham – Podudarnosti religije i rocka

Slavni video-esej konceptualnog umjetnika Dana Grahama (autora performansa, instalacija, video-radova, skulptura, fotografija) u kojem se iznosi teza o rock-muzici kao religiji za izolirane tinejdžere. Šejk, bejbi, šejk. Da, ali to su prvi rekli kvekeri, kršćanski "luđaci" koji su se tresli u vjerskoj ekstazi. Itd.

Cijeli video je na Vimeu


"Rock My Religion is a provocative thesis on the relation between religion and rock music in contemporary culture. Graham formulates a history that begins with the Shakers, an early religious community who practiced self-denial and ecstatic trance dances. With the "reeling and rocking" of religious revivals as his point of departure, Graham analyzes the emergence of rock music as religion with the teenage consumer in the isolated suburban milieu of the 1950s, locating rock's sexual and ideological context in post-World War II America. The music and philosophies of Patti Smith, who made explicit the trope that rock is religion, are his focus. This complex collage of text, film footage and performance forms a compelling theoretical essay on the ideological codes and historical contexts that inform the cultural phenomenon of rock `n' roll music.
Original Music: Glenn Branca, Sonic Youth. Sound: Ian Murray, Wharton Tiers. Narrators: Johanna Cypis, Dan Graham. Editors: Matt Danowski, Derek Graham, Ian Murray, Tony Oursler. Produced by Dan Graham and the Moderna Museet."

Dan Graham, Rock My Religion, Writings and Projects 1965-1990, Edited by Brian Wallis, MIT Press, 1993.

„Dan Graham's artworks and critical writings have had an enormous influence on the course of contemporary art over the past quarter century. Rock My Religion collects eighteen of Graham's essays from all periods of his work, beginning with his essays on minimalist artists such as Dan Flavin and Donald Judd, continuing with his writings on punk rock and popular culture, and concluding with his more recent considerations of architecture, urban space, and power.
Alternating with these theoretical essays are descriptions and documentations of Graham's own works and installations - projects that trace his explorations in conceptual art, video, photography, architecture, and public sculpture, showing the integral connections between Graham's criticism and his own artwork. Although as an artist Graham has been associated with minimalism, conceptual art, and postmodernism, his writing does not conform to the stylistic and theoretical constraints of any specific movement. With sources and topics ranging from Ronald Reagan to the Sex Pistols, from Michel Foucault to Dean Martin, Graham's eclectic investigations into the complex cultural relationships between art production and social reality are always strikingly original. What makes these writings particularly astonishing, though, is Graham's willingness to examine specific manifestations of popular culture (television, magazines, rock and roll, drugs) without regard to traditional qualitative judgments and without separating "high" or "low" culture from the processes of everyday life.
Dan Graham's artwork has been exhibited in museums and galleries around the world. His writings have appeared in Artforum, Arts, and numerous other magazines, books, and monographs. Brian Wallis is a senior editor of Art in America.“


Predivni Kodwo Eshun objavio je pak knjigu o tom videu.

Kodwo Eshun, Dan Graham: Rock My Religion, MIT Press, 2012.

"Dan Graham's Rock My Religion (1982--1984) is a video essay populated by punk and rock performers (Patti Smith, Jim Morrison, Jerry Lee Lewis, and Eddie Cochran) and historical figures (including Ann Lee, founder of the Shakers). It represented a coming together of narrative voice-overs, singing and shouting voices, and jarring sounds and overlaid texts that proposed a historical genealogy of rock music and an ambitious thesis about the origins of North America's popular culture. Because of its passionate embrace of underground music, its low-fi aesthetics, interest in politics, and liberal approach to historiography, the video has become a landmark work in the history of contemporary moving image and art; but it has remained, possibly for the same reasons, one of Graham's least written about works--underappreciated and possibly misunderstood by the critics who otherwise celebrate him. This illustrated study of Graham's groundbreaking work fills that critical gap. Kodwo Eshun examines Rock My Religion not only in terms of contemporary art and Graham's wider body of work but also as part of the broader culture of the time. He explores the relationship between Graham and New York's underground music scene of the 1980s, connecting the artistic methods of the No Wave bands--especially their group dynamics and relationship to the audience-and Rock My Religion's treatment of working class identity and culture."



Još malo o Danu Grahamu:

"Up now at the Whitney is the show Dan Graham: Beyond, a retrospective of the New York artist that spans his 40 year career, including his conceptual projects for magazine pages from the 60's, glass and steal installations from the 80's, video installations, and his work with musicians including Sonic Youth and Japanther.
Graham says his work is all about anarchistic humor. This is one of the many rapid explanations he gives for his art, speaking in a way the Village Voice describes as, a verbal performance akin to high-energy jazz. Graham also explains that his work commands participation, asking visitors to sit on cushions and watch videos together, or adjust their make-up."

Spiritualized - Sweet Heart Sweet Light

Himnične pjesme dok besramno obješen o boga gledaš dolje na Zemlju i istodobno gospel-liftom ubrzano putuješ prema sentimentalnom nebu jer te odozdo prži bijela vatra. Religija bez vjere u boga, zazivanje Isusa da se ne bi potpuno izgubila vjera u droge. Ali uvijek ostaje vjera u povijest rock'n'rolla.

"First, I want to address Lucy Cage’s powerful response to Sweet Heart Sweet Light, in which she takes exception to the video for “Hey Jane”:
“Hey Jane” wears its NSFW like a smug little badge and is a 10 minute long micro-film about a black transvestite prostitute with a small and frightened child who ends up beaten to a bloody pulp by a repressed and shamed white trick. It is repellent and upsetting and I don’t care what Art is allowed to do, I don’t like it. I don’t like the fact that every fist fall, every crunch of boot on facial bones, is filmed in detail and at length. I don’t like what it appears to be saying about people. I don’t like that said whiney, white, self-pitying, copyist, imagination-free, privilege-flaunting cisman from England has used this story and these characters from waaaaaaaaaaay outside his experience, knowledge or culture as entertainment, however much Art has given him a hall pass to do so. That he thinks he can harvest grit by association. That he has licence to use such sad and graphic images of others’ sexuality and poverty and lifestyle and even death to imply his own hipness/toughness.

Although I’m put off by her tone, I take her criticism seriously. I just happen to think that she is wrong. I have nothing to say here to those whose lives are marked by sexual violence, racial inequality, or poverty. There is more pain (targeted, structural, and unique) than my words could ever suggest, and I mean no disrespect by giving it so little space here. But, more abstractly, I think it is unfair to equate suffering with subjectivity or with, for lack of a better phrase, “identity politics.” Suffering (qua suffering) knows no particular identity. If J. Spaceman is exploiting his own suffering, he is doing so no more than any other confessional artist. (And yes, in humility, we must accept that the privileged carry with them their own suffering. The middle-aged white man is no more or less vulnerable, in a very real sense; no one is liberated from its history. This is the fundamental and often unbearable fact of existence. And there is no competition; there is just unchecked privilege, which I won’t accuse Spaceman of here.) Maybe he is being disingenuous, but I suspect he’s not. And when I watch his video for “Hey Jane,” I see nothing alien to his own story as he has given it to us: a precarious grace revealed through violence. Ultimately, it seems to me less a question of representation than compassion.

Furthermore, when was the last time a music video actually reflected the content of its song? While that’s not an excuse for insensitivity, it is a recognition of the state of the medium: the song says one thing, the visuals say another, and “Hey Jane” is clearly propelled by mood rather than by the song’s lyrical substance.

It seems important to say these things, as I’ve often found J. Spaceman’s confessions convincing and moving. They are blunt, lucidly anguished, and decidedly un-lyrical, so this is a strange admission for me, as I’m most often taken in by opaque, lyrical prose. Yet Spaceman’s words remind me of the late (and last) John Berryman: “ah Wednesday night is hell.” Both remind me that late-style, in extremis, has little-to-no room for pretense. “It’s too late, too late,” he sings “shamelessly.” Elsewhere, twisting his “Won’t Get to Heaven” into a final resignation: “I won’t get to heaven/ Won’t be coming home/ Will not see my mother again/ ‘Cause I’m lost and I’m gone/ This life is too long/ And my willpower was never too strong.” (These words are the entirety of Spiritualized’s 22-year lyrical content summed up into 33 words, adding, it seems, only the missing mother. I want to write about how this is too simple to be moving, but like the lost-love letters I found near a high school recently, sometimes the more honest expression, however pitiful, is the clearest. It is certainly the most vulnerable. Confess your sins and be healed, James writes.) Beyond any accusation of self-pity, there remains a question if Spaceman is too late. He is still miraculously alive. (He thanks his medical staff in Sweet Heart, Sweet Light’s liner notes.) And he never really believed in heaven, anyway. “No God, only religion”: even those who believe I think know that the Name reaches beyond the Name, into the impossible, invisible, anguished core of our materiality. Often, the best we can do is try to speak it. Speaking, singing, ourselves, at least by definition, means there is at least some time left, right? Time to correct wrongs? I don’t blame the naysayers, but I think redemption gets a bad reputation." - Nathan Shaffer

"It’s been nearly four years since the last Spiritualized LP, but just like Songs in A&E, Sweet Heart, Sweet Light arises from a situation not of Jason Pierce’s choosing. While A&E is named for the Royal London Hospital ward in which he was treated for a nasty, life-threatening bout of pneumonia, Sweet Heart was created during treatment for a degenerative liver disease, which necessitated Pierce ingesting an experimental drug cocktail that triggered sensations far from the chemical euphorias of his earlier work. There’s a morbid irony in the fact that a guy who came up making some of the druggiest music imaginable now has to push through his meds to get an album out. Pierce recognizes this: The cover of his breathtaking 1997 album Ladies And Gentlemen, We Are Floating In Space looked like a throwback prescription label, while Sweet Heart’s resembles the world’s most confusing chemical symbol.
Thankfully, Pierce isn’t bummed about his situation. Far from it. Instead, he pushes through his plight, with yet another offering drawn from his trinity of transcendence: love, drugs, and God. From its opening moments, in fact, Sweet Heart packs in one of Pierce’s most impressive works yet. “Hey Jane” is a nearly nine-minute Britpop throwback in two parts: The first bit grooves until it quickly collapses into itself, while the second part takes five minutes for a dramatic, James Brown-style rise from the ashes, with Pierce haunting the titular woman: “Hey Jane, are you gonna die?”
Sweet Heart is shot through with this sort of woozy awareness of mortality, draped in Pierce’s signature simple-yet-lush orchestrations. “Jane” is bookended by the gospel-tinged slow burn “So Long You Pretty Thing,” which pairs a church organ with a direct plea to Jesus. The lightheaded string section of “Get What You Deserve” feels like a simulation of an IV-drip hallucination, which Pierce winkingly acknowledges with the double entendre “gonna shoot you while you’re laying down.” Pierce may wish he was dead, as he sings on the George Harrison-tinged anthem “Little Girl,” but as Sweet Heart demonstrates clearly, with the right combination of chemicals, faith, and affection, it’s possible to achieve an imitation of the afterlife from right here on earth." - Eric Harvey

Olivier Saint-Léger - Digitalni amok

Razgovor s Olivierom Saint-Légerom o novim tehnologijama, globalnom selu, veoma brzim mrežama, računalnoj ovisnosti, Big Brotherima svih vrsta te srazu informatike i takozvanog civiliziranog svijeta.

Olivier Saint-Léger bio je jedan od velikih obraćenika računalne kulture nalazeći se na čelu časopisa Webmaster i Netpro. 90-ih godina ti su časopisi bili namijenjeni profesionalcima informatičkih mreža, a kasnije su pali u zaborav zbog burzovnog pada visokih tehnologija.


Ubrzanje povijesti jedan je od temelja ljudske civilizacije! Pojava Mreže dio je stalne potrage za “zbiljskim vremenom” koja naglašava našu žeđ za sveprisutnošću i sveznanjem


Uz tehnološki napredak uvijek će dolaziti “protu-udar”, njegova zloporaba od lopova, terorista, političara, države


Čovjek je samo preostali parametar jednoga sustava koji ključa od želje da potvrdi svoju neovisnost


Čovjek se neumorno približava tehnologiji, u nekoj vrsti fuzijskog kretanja. Neki će čak reći da će biti teško napraviti “stvarnu razliku između ljudi i računala”


Laurent Courau: Digitalni amok

S obzirom na to da si bio pomni promatrač eksplozije Interneta u Francuskoj i svijetu, kako iz današnje perspektive gledaš na proteklo desetljeće i web pustolovinu?
- Pomalo kao u romanu Strah i prezir u Las Vegasu našeg zajedničkog autoriteta, Huntera S. Thompsona… Citirat ću ga samo jednom, obećajem: “When the going gets weird, the Weird turn pro.”
Što te je u početku privuklo u taj svijet koji u prvi mah može djelovati odbojno? Jesi li na primjer u mladosti bio zaljubljenik u spekulativnu i znanstvenofantastičnu književnost?
- Da, kao i svi klinci pretpostavljam (Poe, Lovercraft, Derleth, Van Vogt, Bradbury, Asimov, Dick...), ukratko ništa posebno, da tako kažem. Ne vjerujem da su moja lektira i feljtoni iz ‘60-ih godina koje sam gutao imali bilo kakav utjecaj na moje opredjeljenje za nove tehnologije (ali ne bih se zakleo u to). Zapravo, ja sam naprosto bio u pravo vrijeme na pravome mjestu. Naravno da smo krajem ‘80-ih svi čitali Neuromancer Williama Gibsona a embrij matrice koji se stvarao pred našim očima bio je dovoljan da nas izbaci u blisku budućnost, ovoga puta posve vjerojatnu.
Imaš li osjećaj da si bio zahvaćen tehnološkom i spekulativnom groznicom, naročito kroz svoj novinarski rad?
- Da. Podlegao sam tome. Priznajem. Početkom ‘90-ih godina, ja i još nekoliko novinara iznijeli smo “gibsonovsku” viziju Interneta. Mi smo pojednostavili i sublimirali ono što je u stvari bila samo metamorfoza, primarna konstrukcija. U tom je trenutku naš cilj bio proširiti “nove tehnologije” kako bi što veći broj ljudi postao svjestan ubrzanog razvoja društva. Onda smo započeli s opisivanjem “društvenog” priključka Interneta, njegovih potencijalnih primjena, snova, izobličenja i strahota. Namjerno smo prikrivali temelje njegove izgradnje: drugim riječima potiskivali smo sve tehnološke aspekte koji su bili neugodna kočnica. Prodavali smo teoriju, polja mogućega. A onda su trgovci nanjušili čar dobiti. Kako bi ulični prodavač mogao odoljeti zovu divovskog kolektivnog sna, ako je on golemo moguće tržište? Dakle, svi su prodavali i preprodavali na Netu, a da nije bilo infrastrukture pa čak ni servisnih službi! To je dovelo do nastajanja spekulativnog balona, koji u ovom slučaju posve zasluženo nosi to ime. I počevši od toga trenutka, ljudi iz marketinga su nam za doručak, ručak, večeru pa i češće, servirali “paradigmu” … Grozno...
Prodavanje sna djelovalo je izvrsno tijekom četiri godine. Ulagači (najprije američki, a potom europski i azijski) zamišljali su računalni “Yellow Brick Road”. Snovi o vlasti, novcu, moći. Svi su sebe vidjeli kao nove barbare iza kojih trava više neće rasti. Ulični prodavači privjesaka za ključeve proglašavali su se Doktorima interneta (i uvjeravam te da gotovo nimalo ne karikiram), savjetnici su nicali posvuda, elektronički gazde pojavljivali su se u svakom kutku na tulumima, ističući posjetnice koje bi postidjele i Patricka Batemana. Ukratko, bilo je to potpuno ludilo. Stalno talasanje. Posvuda praznina. Čitava ta ekonomija od papira građena je na pješčanom sprudu. Indonežani imaju riječ za to: amok, kolektivno ludilo koje zahvaća cijelo selo i nagoni stanovnike da se međusobno ubijaju. Evo, mi smo preživjeli svojevsni digitalni amok na razini “globalnog sela”. Zatim je, u ožujku 2000., burza počela svoditi račune. Nastavak je poznat… Međutim, te burzovne strategije pružile su nam također stvarni uvid u financijske i ekonomske ratove koji se vode između velikih pôlova na Zapadu. U konkretnom slučaju, uvid u opći napad Sjedinjenih Država na Europu.
Misliš li da se može govoriti o ubrzanju povijesti kada je riječ o posljednjem desetljeću?

- Ubrzanje povijesti jedan je od temelja ljudske civilizacije! Gotovo sve u stvaranju čovjeka počiva na pojmu redukcije vremena. Dakle, od početka stoljeća, polja istraživanja ukrštaju se na ubrzani način. Pojava Mreže nije ništa iznenađujuće u toj stalnoj potrazi za “zbiljskim vremenom” koja naglašava našu žeđ za sveprisutnošću i sveznanjem. Jer, zbog te divlje želje za ukidanjem samoga vremena vjerujemo kako smo i sami dostojni živjeti na vrhu Olimpa. Ubiti vrijeme, to nam daje osjećaj vječnosti, a Mreža je još jedna cigla u izgradnji toga hrama. Ona nije posljednja i biti će drugih, mnogo drugih. Mi živimo usred one kratke matematičke bajke koja govori o tome kako dospjeti iz jednoga kuta prostorije u drugi, krećući se pritom po dijagonali, i to na način da u svakom sljedećem skoku uvijek podijelimo preostali dio na pola. Uvijek smo sve bliže, ali nažalost nikada ne stižemo!
Globalno selo, post-humanizam i kiborzi… Cyberkultura je bila nositeljica brojnih više ili manje luckastih utopija. Koje od njih imaju istinsku budućnost?
- To je teško reći. Pojam “istinska”, problematičan je. Cyberkultura je golem laboratorij u kojemu se svaka probijena pukotina razmatra kao jedna “mogućnost”. Jedna stvar mi se čini izvjesnom, a to je da dolazi do sve većeg približavanja biološkog i digitalnog. Čovjek se neumorno približava tehnologiji, u nekoj vrsti fuzijskog kretanja. Neki će čak reći da će biti teško napraviti “stvarnu razliku između ljudi i računala”. Dosta vjerojatno… ako prije ne dođe do urušavanja. Pod time podrazumijevam da je zapravo moguć i povratak unazad, ali uz cijenu potpune dekonstrukcije i velikog nasilja.
Stalno su nam prodavali mnoštvo navodno revolucionarnih digitalnih tehnologija. Koje od njih, prema tvome mišljenju, imaju ili će imati zaista važan utjecaj na naš način života?

- Sve one danas, vidljivo ili ne, utječu na naše živote, bez obzira na to jesu li nam prikazane na reklamama lijepih časopisa na sjajnom papiru ili se stjerane u zabiti kutak kakvoga servera. Pitanje je samo koju vrijednost i kakvu važnost im pridajemo. Evo, za zabavu, tek jedne kratke rečenice Breta Eastona Ellisa: "Bio jednom akvarij u kojem je živjela veoma krupna crna riba koja mi se činila bitnom."
Čini se da je pornografija jedan od najunosnijih poslova na webu. Nije li to zapravo krajnje izrugivanje s evolutivnim utopijama?
- Zašto. Seks je po svojoj naravi, da tako kažem, jedan od velikih pokretača svijeta. Znači li to da evolutivne teorije izuzimaju seks? Nekoliko gnostika iz drugog stoljeća nakon Krista jasno su propovijedali prestanak obnavaljanja vrste, kako bi se izbjegla nesreća podnošenja “zemaljske sile teže” (taj gnostički senzibilitet stalno je prisutan). Homo vulgaris najvećim je dijelom prilično daleko od razmišljanja o eteričnom hiper-svijetu. On ima potrebu za seksom i prikazivanje toga čina jasno je svakome, posvuda. Svakako, seks i Internet idu veoma dobro zajedno. Iz očitih razloga (anonimnost, razmjena, ustrojavanje neprozirnih mreža, mnoštvo oblika i jednostavnost pristupa seksualnim mogućnostima itd.) internet je raj za “lurkerse” i deklarirane praktičare. No, je li to stvarno nešto novo?
Izgleda kao da su Sjedinjene Države i zapadni svijet u cjelini uhvaćeni u zamku vlastite igre, nakon učestale zloporabe informatičkih mreža od struktura organiziranog kriminala, pa sve do korištenja pornografskih slika kao nositelja kodiranih poruka terorista. Toliko o ideji sjevernoameričkog Big Brothera… Na što te podsjeća taj paradoks?
- Ja u tome ne vidim nikakav paradoks. Mafijaši i drugi političari, baš kao i čovjek općenito, izuzetno su prilagodljiva bića, sa strahovitom inteligencijom (barem određenim oblikom inteligencije). Reci mi zbog čega neki kolumbijski mafijaš ili islamski terorist ne bi sebi uzeo pravo da nove tehnologije koristi za najcrnje prijevare? Koja moralna pravila bi mogla spriječiti nekog ekstremista u njegovoj odluci? Kako “dobri WASP-ovski moral”, karikatura “dobroga svijeta”, može “izgledati” tako bezazlen kao što se prikazuje? On to nije. Cinično je uvijek moguće tvrditi da su pravila ista za sve. Danas se ta zapadna “vizija” pokušava prodati takozvanim “barbarima”. Mi prodajemo naše načine mišljenja, naše kulture, naše životne stilove, kao da su oni apsolut izvan kojega uopće nije moguće govoriti o civilizaciji. Nije li to također cinizam, kada je već poznato da od 6 milijardi ljudi na svijetu njih 5 milijardi služi kako bi zadovoljilo potrebe one milijarde povlaštenih. Štoviše, čini se da će i tu milijardu biti teško probaviti… Ne, nitko nije uhvaćen u zamku vlastite igre. Uz tehnološki napredak uvijek će dolaziti “protu-udar”, njegova zloporaba od lopova, terorista, političara, države.
Kako vidiš budućnost sektora novih tehnologija? Koji su na primjer sljedeći veliki pomaci za koje smatraš da bi mogli dovesti do velikih promjena?
- Bio, nano, bežična tehnologija, veoma brze mreže, širenje i frakcioniranje sadržaja, novi val nastranog reklamiranja i neprestano sve više trgovaca posvuda.
Kako, općenito, gledaš na ulogu informatičkih mreža i informacijskih tehnologija u budućnosti? Nažalost, očito je da one u ovom trenutku, statistički gledano, ostaju povlastica jednog malog dijela elite… Jesi li optimist ili pesimist?
- Ne mislim da su mreže u cjelini povlastica elite. “Privatni” pristup mrežama doista ima tek 5 posto stanovnika našeg planeta. Međutim, mreža zapravo utječe na život svih. To je slučaj s Talijanom koji ostaje u mraku zbog prekida električne energije, čovjekom iz Bangladeša koji kupuje avionsku kartu zahvaljući mreži Sabre, indijancem iz Chiapasa koji se koristi mobilnim telefonom, marokanskim seljakom koji pokušava prodati svoje proizvode po cijenama koje nameće svjetsko tržište, iseljenikom koji pokušava pobjeći poreznicima, iračkim dijetetom koje je izgubilo obje ruke igrajući se ostacima kasetnih bombi. Niže cjeline mreža međusobno se povezuju, granaju i ponovno spajaju, stvarajući nebulozu koju više nijedan ljudski mozak nije u stanju razumjeti. Sve to ostavlja dojam da smo zbilja stvorili digitalnog Golema. S tom razlikom što se u legendi Golem spašava. Nasuprot tome, ja sam sklon vjerovati da je čovjek samo preostali parametar jednoga sustava koji ključa od želje da potvrdi svoju neovisnost. Jesam li pesimist? Ne, zadivljen sam čovjekovom sposobnošću prilagodbe. Koja bi druga životinja mogla preživjeti takav determinizam u svojem samougnjetavanju? Naprotiv, smatram da se mogu ubrojiti u optimiste… prirodne.

S francuskog prevela Snježana Kirinić.
Objavljeno u e-časopisu La Spirale

Solarni anus - NASA dokazala Batailleovu noćnu moru

Snimka Sunca kako ejakulira golemi sferoidni spermij! Fascinantan dokaz Batailleove vizije o solarnom anusu i koitusu Zemlje i Sunca: "Sunce voli isključivo noć i prema Zemlji usmjerava svoje svjetlosno nasilje, svoj prosti penis, ali nesposobno je dosegnuti pogled ili noć, iako se noćna zemljina prostranstva neprekidno usmjeravaju prema prljavštini sunčevog zraka. Solarni prsten netaknuti je anus njegova osamnaestogodišnjeg tijela i ništa nije dovoljno zasljepljujuće da bi se usporedilo s njim, osim Sunca, iako je anus zapravo noć."

Georges Bataille: Solarni anus

            Svima je jasno da je svijet sasvim parodičan, dakle, da je svaka stvar koju gledamo parodija neke druge ili čak ista ta stvar u razočaravajućem obliku.

            Otkako rečenice kruže mozgovima zaokupljenima razmišljanjem, izvodi se potpuna identifikacija jer pomoću kopule svaka rečenica vezuje jednu stvar za drugu; i sve bi bilo vidljivo povezano kad bi se jednim pogledom u svoj totalnosti otkrila shema koju čini Arijadnina nit, a koja vodi misao u njenom vlastitom labirintu.

            Ali kopula riječi ne razdražuje manje od kopulacije tijela. I kad poviknem: JA SAM SUNCE, to prouzrokuje posvemašnju erekciju jer je glagol “biti” vozilo ljubavne mahnitosti.

            Svi su svjesni da je život parodičan i da mu nedostaje interpretacija.

            Tako je olovo parodija zlata.

            Zrak je parodija vode.

            Mozak je parodija ekvatora.

            Koitus je parodija zločina.

            Zlato, voda, ekvator ili zločin mogu podjednako biti proglašeni principom stvari.

            A ako podrijetlo i nije slično tlu planeta kojem se čini da je osnova, nego kružnom pokretu koji planet opisuje oko mobilnog središta, tada se automobil, sat ili stroj za šivanje mogu podjednako prihvatiti kao generirajući princip.

            Dva osnovna pokreta su rotacijski pokret i seksualni pokret, čija se kombinacija izražava lokomotivom sastavljenom od kotača i klipova.

            Ta dva pokreta uzajamno se transformiraju jedan u drugi.

            Tako uviđamo da rotacijom zemlja navodi životinje i ljude na kopulaciju te (jer posljedica je također uzrok onog što izaziva) da životinje i ljudi kopulacijom navode zemlju na okretanje.

            Kombinaciju ili mehaničku transformaciju upravo tih pokreta tražili su alkemičari nazivajući je kamenom mudraca.

            Korištenjem upravo te kombinacije magične vrijednosti određen je trenutačni položaj čovjeka među ostalim elementima.

            Bačena cipela, pokvaren zub, prekratak nos, kuhar koji pljuje u hranu svojih gospodara ono su za ljubav što je barjak za nacionalnost.

            Kišobran, šezdesetogodišnjakinja, seminarist, miris pokvarenih jaja, izdubljene oči sudaca korijeni su kojima se ljubav hrani.

            Pas koji proždire želudac guske, pijana žena koja povraća, računovođa koji jeca, staklenka senfa predstavljaju metež koji je vozilo ljubavi.

            Čovjek među drugim ljudima razdražen je jer ne zna zašto nije jedan od tih drugih.

            U krevetu, uz djevojku koju voli, zaboravlja da ne zna zašto je on on, umjesto tijela koje dodiruje.

            Ne znajući ništa o tome, on pati zbog mentalne tame koja ga sprječava da vrišti da je on sam ta djevojka koja zaboravlja njegovu prisutnost vrpoljeći mu se u rukama.

            Ili ljubav ili infantilni bijes ili taština bogate udovice iz provincije ili klerikalna pornografija, ili dijamant sopranistice obmanjuju zaboravljene osobe u prašnjavim stanovima.

            Uzalud su pohlepno tražili jedni druge: nikad neće pronaći ništa osim parodičnih slika i zaspat će prazni kao zrcala.

            Odsutna i troma djevojka opružena bez snova u mojim rukama nije mi više strana od vrata ili prozora kroz koje mogu gledati ili proći.

            Ponovno otkrivam ravnodušnost (dopuštajući joj da me napusti) kad me uspava nesposobnost da volim to što se događa.

            Nije joj moguće znati koga susreće kada je obgrlim jer tvrdoglavo doseže potpuni zaborav.

            Planetarni sustavi koji se okreću u prostoru kao hitri diskovi i čije se središte podjednako miče, opisujući beskrajno veći krug, udaljavaju se neprestano od vlastite pozicije samo da bi joj se vratili dovršavajući svoju rotaciju.

            To kretanje je figura ljubavi nesposobne zaustaviti se na jednom posebnom biću, ona prelazi brzo s jednog na drugo.

            Ali zaborav koji ga uvjetuje tek je podvala sjećanja.

            Čovjek ustaje naglo kao sablast u lijesu i pada natrag na isti način.

            Ustaje nekoliko sati poslije, potom ponovno pada i tako redom svaki dan: ovaj veliki koitus s nebeskom atmosferom uređen je Zemljinim okretanjem oko Sunca.

            Pa tako, iako se život na Zemlji kreće u ritmu tog okretanja, slika tog pokreta nije rotirajuća Zemlja, nego penis koji prodire u ženku, gotovo potpuno izlazi da bi ponovno ušao.

            Ljubav i život čine se odvojenima samo jer je sve na Zemlji isprekidano vibracijama različitih amplituda i trajanja.

            Međutim, nema vibracija koje se ne sprežu s trajnim kružnim pokretom; jednako tako, lokomotiva koja se kreće po površini Zemlje slika je trajne metamorfoze.

            Bića umiru samo da bi se ponovno rodila, poput falusā koji izlaze iz tijela samo da bi opet ušli.

            Biljke rastu u smjeru Sunca, a potom padaju natrag u smjeru Zemlje.

            Stabla nakostriješe tlo Zemlje beskonačnom količinom rascvalih penisa upravljenih ka Suncu.

            Stabla koja snažno uzlijeću svrše spaljena gromom, posječena ili iskorijenjena. Vraćena zemlji, jednako se tako dižu u drugom obliku.

            Ali njihov polimorfni koitus funkcija je jednolike Zemljine rotacije.

            Najjednostavnija slika objedinjenog organskog života u rotaciji jest morska mijena. Iz pokreta mora, jednolikog koitusa Zemlje s Mjesecom, proizlazi polimorfni i organski koitus Zemlje i Sunca.

            Ali prva forma solarne ljubavi je oblak koji se diže iznad tekućeg elementa.

            Erotični oblak katkad postane oluja i pada natrag na zemlju u obliku kiše dok munja probija slojeve atmosfere.

            Kiša se brzo uzdiže u obliku nepokretne biljke.

            Životinjski život potpuno proizlazi iz pokreta mora i, unutar tijela, život nastavlja proizlaziti iz slane vode.

            More je tako odigralo ulogu ženskog organa koji se ovlažuje pod uzbuđenjem penisa.

            More neprekidno drka.

            Čvrsti elementi, sadržani i skuhani u vodi oživljenoj erotskim pokretom, šiknu u obliku letećih riba.

            Erekcija i Sunce skandaliziraju jednako kao truplo i tama špilja.

            Vegetacija se jednoliko usmjerava prema Suncu, a ljudska bića, naprotiv, iako falusoidna poput stabala, a za razliku od ostalih životinja, nužno okreću pogled od njega.

            Ljudske oči ne podnose ni Sunce niti koitus niti truplo niti tamu, ali na njih različito reagiraju.

            Kad mi lice oblije krv, ono postaje crveno i opsceno.

            Preko morbidnih refleksa, odaje istovremeno i krvavu erekciju i žeđ koja zahtijeva besramnost i kriminalan razvrat.

          Tako se ne plašim tvrditi da je moje lice skandal i da moje strasti izražava jedino JÉSUVE.

          Zemljina je lopta prekrivena vulkanima koji joj služe kao anus.

            Iako ta lopta ne jede ništa, katkad izbacuje sadržaj svoje utrobe.

            Taj sadržaj šiklja uz buku i pada natrag, tekući niz padine Jésuvea, šireći posvuda smrt i strah.

            Zapravo, erotski pokreti tla nisu plodni kao pokreti voda, ali su mnogo brži.

            Zemlja katkad mahnito drka i sve se slijeva po njezinoj površini.

            Jésuve je također slika erotskog pokreta koji pljačkajući ideje duha daje tim idejama snagu skandalozne erupcije.

            Ta eruptivna snaga nužno se nakuplja u onima koji su smješteni niže.

            Komunistički se radnici buržujima čine ružni i prljavi poput dlakavih spolnih organa i nižih dijelova: prije ili kasnije dogodit će se skandalozna erupcija tijekom koje će aseksualne i otmjene glave buržuja biti otkinute.

            Katastrofe, revolucije i vulkani ne vode ljubav sa zvijezdama.

            Erotske revolucionarne i vulkanske eksplozije u antagonizmu su s nebom.

            Kao i nasilne ljubavi, događaju se onkraj ograničenja plodnosti.

            Nebeskoj se plodnosti suprotstavljaju zemaljske katastrofe, slika zemaljske bezuvjetne ljubavi, erekcija bez ishoda i bez pravila, skandal i teror.

            Tako ljubav vrišti u mojem vlastitom grlu: ja sam Jésuve, prljava parodija vrelog i zasljepljujućeg Sunca.

            Želim biti zaklan dok silujem djevojku kojoj sam mogao reći: ti si noć.

            Sunce voli isključivo noć i prema Zemlji usmjerava svoje svjetlosno nasilje, svoj prosti penis, ali nesposobno je dosegnuti pogled ili noć, iako se noćna zemljina prostranstva neprekidno usmjeravaju prema prljavštini sunčevog zraka.

            Solarni prsten netaknuti je anus njegova osamnaestogodišnjeg tijela i ništa nije dovoljno zasljepljujuće da bi se usporedilo s njim, osim Sunca, iako je anus zapravo noć. 

[1927.]

S francuskoga prevela Milena Ostojić.

Objavljeno u Libri Liberi.

Kraj kapitalizma? I meni jedan, molim

Tko kaže da je teže zamisliti kraj kapitalizma nego kraj svijeta? Pa svi (gle iznenađenja - desničari, ne ljevičari) zamišljaju kraj kapitalizma, neki od njih tvrde da građanski rat samo što nije počeo. Evo malo političko-dadaističke poezije s "lica mesta":

"Civil war is coming to the US, and there's no stopping it

DHS prepping for economic collapse and money will be worthless.
Never seen it this bad; everyone is talking about what they personally will do.
DHS brass don't care and are conducting overt actions in plain sight. Most incoming troops are not for training (some are) but as part of a larger force.
All know BHO (Barack Hussein Obama) is constitutionally illegitimate.
All in Congress know this, and their families are being threatened to keep them quiet.
High level News Corp. people talked to the highest at DHS and TSA. The plan is to get people conditioned to seeing troops, paramilitary – get them conditioned to being searched.
Dollar will collapse – that will be the bigger event. The trigger event starts in Europe and then heads here. When we see that – start counting because we have only days left.
Bernanke / Geitner / top level bankers will be in hiding.
Election year – watch BHO's body language. Does he look afraid of not getting elected? "WTF wake up."
Then race riots, class riots.
Farrakhan is on DIA payroll and he will help start these riots.
Then Civil War, not sporadic riots and uprisings here and there.
There will be no food – no ETMs – no gas.
People will RUN to camps for assistance.
Guns must be abandoned and left with police in order to get food.
BHO & Bernanke are behind every stupid economic move.

Something with China troops here, but China debt to be called in – 5.5 trillion total.

Rosebud: How easy will will it be to quell 300+ million people?
No, the question is: How easy will it be to quell 300+ STARVING people who are unprepared?

Shoot to kill orders during collapse will be given to the police.
End of meeting

More later. Said next meeting 5 May (Sat.) outside of DC. Call Sunday. -


Special Warning: DHS Knows an Economic Collapse Is Coming and That People Are Not Prepared


"In a riveting interview on TruNews Radio, Wednesday, private investigator Doug Hagmann said high-level, reliable sources told him the U.S. Department of Homeland Security (DHS) is preparing for “massive civil war” in America.
“Folks, we’re getting ready for one massive economic collapse,” Hagmann told TruNews host Rick Wiles.
We have problems . . . The federal government is preparing for civil uprising,” he added, “so every time you hear about troop movements, every time you hear about movements of military equipment, the militarization of the police, the buying of the ammunition, all of this is . . . they (DHS) are preparing for a massive uprising.” 
Hagmann goes on to say that his sources tell him the concerns of the DHS stem from a collapse of the U.S. dollar and the hyperinflation a collapse in the value of the world’s primary reserve currency implies to a nation of 311 million Americans, who, for the significant portion of the population, is armed.
Uprisings in Greece is, indeed, a problem, but an uprising of armed Americans becomes a matter of serious national security, a point addressed in a recent report by the Pentagon and highlighted as a vulnerability and threat to the U.S. during war-game exercises at the Department of Defense last year, according to one of the DoD’s war-game participants, Jim Rickards, author of Currency Wars: The Making of the Next Global Crisis.
Through his sources, Hagmann confirmed Rickards’ ongoing thesis of a fear of a U.S. dollar collapse at the hands of the Chinese (U.S. treasury bond holders of approximately $1 trillion) and, possibly, the Russians (threatening to launch a gold-backed ruble as an attractive alternative to the U.S. dollar) in retaliation for aggressive U.S. foreign policy initiatives against China’s and Russia’s strategic allies Iran and Syria.
“The one source that we have I’ve known since 1979,” Hagmann continued. “He started out as a patrol officer and currently he is now working for a federal agency under the umbrella of the Department of Homeland Security; he’s in a position to know what policies are being initiated, what policies are being planned at this point, and he’s telling us right now—look, what you’re seeing is just the tip of the iceberg. We are preparing, we, meaning the government, we are preparing for a massive civil war in this country.”
“There’s no hyperbole here,” he added, echoing Trends Research Institute’s Founder Gerald Celente’s forecast of last year. Celente expects a collapse of the U.S. dollar and riots in America some time this year.
Since Celente’s ‘Civil War’ prediction of last year, executive orders NDAA and National Defense Resources Preparedness were signed into law by President Obama, which are both politically damaging actions taken by a sitting president.
And most recently, requests made by the DHS for the procurement of 450 million rounds of hollow-point ammunition only fuels speculation of an upcoming tragic event expected on American soil.
These major events, as shocking to the American people as they are, have taken place during an election year.
Escalating preparatory activities by the executive branch and DHS throughout the last decade—from the Patriot Act, to countless executive orders drafted to suspend (or strip) American civil liberties “are just the beginning” of the nightmare to come, Hagmann said.
He added, “It’s going to get so much worse toward the election, and I’m not even sure we’re going to have an election in this country. It’s going to be that bad, and this, as well, is coming from my sources. But one source in particular said, ‘look, you don’t understand how bad it is.’ This stuff is real; these people, the Department of Homeland Security (DHS), they are ready to fight the American people.”
TruNews‘ Wiles asked Hagmann: who does the DHS expect to fight, in particular? Another North versus South, the Yankees against the Confederates? Hagmann stated the situation is far worse than a struggle between any two factions within the U.S.; it’s an anticipated nationwide emergency event centered on the nation’s currency.
“What they [DHS] are expecting, and again, this is according to my sources, what they’re expecting is the un-sustainability of the American dollar,” Hagmann said. “And we know for a fact that we can no longer service our debt. There’s going to be a period of hyperinflation . . . the dollar will be worthless . . . The economic collapse will be so severe, people won’t be ready for this.” - Dominique de Kevelioc de Bailleul


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