jellybean weirdo with electric snake fang: Divergent Detergent From Strabo's Isthmus

Thursday, May 5, 2011

Divergent Detergent From Strabo's Isthmus

areopagy's lemma dilemma consort
twice arrived
arrivista conclude
enclave

distinguendo una iposmia di tipo periferico

the stink wind Oh it wends (non) T-FOOOOOOOOOOOOOOOOOOK

'Convallarian Vorticella to
ornament the stalks,' Belinda

areopagy's Dionysium: ‘This,’ replied Belinda, ‘is what “Th'unlearned, duck~weed; learned, lemma [sic.], call,” and it is to be found in any ditch or standing pool.’

enclave / twice arrived
remains of arrivista
(green lemur bird trailing beaded strings)

A metaphor not impressed:

distant police sirens

closer dog imitating them

I cannot remove this filth. There is something that remains, Belinda.
A metaphor not impressed. Enclave. Arrivista. Return to détournement.

but as

"turning expressions of the abstractional system against itself."

partial objects to become as toys, decorations, impositions, mere displacements
or

objects of love (insect mandibles)

lavo, lavo, lavo

I once saw a small child go to an electric light switch and say, “Mamma, can I open the light?” She was using the age-old language of exploration, the language of art. It was a sort of metaphor, but she was not using it as ornamentation.

live oak, live oak, live oak

chao evil? live oak

lavo neevus
lavo neevus

tonguing your smallish mole
your smallish hole
tonguing you upon this

your spongiform encephalopodium

pulling alongside the trucker, Belinda made the sign of pulling a cord
which hung from the sky

luo tzu
lau su

lousy / enclave:

(Minä) en/ (Sinä) et/ Hän ei/ (Me) emme/ (Te) ette/ He eivät luo mitään.

arrivista (dog mimicking siren):

Hän luo jotakin uutta.

啧
罗
羀

c-FOOOOK / areopagy's lemma dilemma consort

twice arrived

arrivista conclude

enclave

Y: I bring only conflict.

Cannon speak.
Bell respond.

I bring only swords and woe, never words of wonder.

Cannon speak.
Bell respond.

Y: With a faint chirring of whips,
At the ford,
In the darkness,
In the dawn I saw the foe
Like a jellybean weirdo with electric snake fang

(Like a tusk on the boar’s lip:

Their spear-points in the forest.)
Ten years of hate,
Ten to sharpen the sword,

And now
He is gone like a shooting star,
Like a long snake in the dark.

Détournement is similar to satirical parody, but employs more direct reuse or faithful mimicry of the original works rather than constructing a new work which merely alludes strongly to the original. It may be contrasted with recuperation, in which originally subversive works and ideas are themselves appropriated by mainstream media.

Bringing [hisss] anathemata athemata athissss

Nonstandard spelling of luō.
Nonstandard spelling of luó.
Nonstandard spelling of luǒ.
Nonstandard spelling of luò.

A force cut off
Fighting hard,
Shut around.

I burst the bonds,
I alone,
I returned,

Fleeing by night
Through the crags of the border.

My sword is broken,
My horse fallen.
The hero drags his corpse to his native mountains.

One could view detournement as forming the opposite side of the coin to 'recuperation' (where radical ideas and images become safe and commodified), in that images produced by the spectacle get altered and subverted so that rather than supporting the status quo, their meaning becomes changed in order to put across a more radical or oppositional message.

Inside
and outside the enclave
the message is the same

Exactly the same:

a guessing game ensues
when each family member
tries to determine
what type of object this man is:

Beneath the pale crust of moon
My sleeves are drenched with dew.
Wind rushes against my face. I am cold.
I start aside from the big snake on the pathway,
Startled I draw my sword,
And slash at the old-pine-tree’s shadow.

The concept of détournement has had a popular influence amongst contemporary radicals, and the technique can be seen in action in the present day when looking at the work of Culture Jammers including the Cacophony Society, Billboard Liberation Front, and Adbusters, whose 'subvertisements' 'detourn' Nike adverts, for example. In this case, the original advertisement's imagery is altered in order to draw attention to said company's policy of shifting their production base to cheap-labour third-world 'free trade zones'. However, the line between 'recuperation' and 'détournement' can become thin (or at least very fuzzy) at times, as Naomi Klein points out in her book No Logo. Here she details how corporations such as Nike, Pepsi or Diesel have approached Culture Jammers and Adbusters and offered them lucrative contracts in return for partaking in 'ironic' promotional campaigns. She points out further irony by drawing attention to merchandising produced in order to promote Adbusters' Buy Nothing Day, an example of the recuperation of détournement if ever there was one.