Manifestes d'Interzone / Interzone's
Manifestos
Illustration: O'DONOVAN
The Johnson Family " The Johnson
Family" was a turn-of the century expression to designate good bums and
thieves. It was elaborated into a code of conduct. A Johnson honors his
obligations. His word is good and he is a good man to do business with. A
Johnson minds his own business. He is not a snoopy, self-rightous,
trouble-making person. A Johnson will give help when help is needed. He will
not stand by while someone is drowning or trapped under a burning car. The only thing that
could unite the planet is a united space program... the earth becomes a space
station and war is simply out, irrelevant, flatly insane in a context of research
centers, spaceports, and the exhilaration of working with people you like and
respect toward an agreed-upon objective, an objective from which all workers
will gain. Happiness is a by-product of function. The planetary space station
will give all participants an opportunity to function." William Burroughs ,"The Place of Dead
Roads". |
La Famille Johnson La Famille Johnson" était une expression du
tournant du siècle pour désigner de sympathiques oisifs et de bons larrons.
Elle a été élaborée en un code de conduite. Un Johnson respecte ses
engagements. C'est un homme de parole et on peut faire affaire avec lui. Un
Johnson s'occupe de ses propres affaires. Ce n'est pas un fouineur ni un
pharisien ni un fomentateur de troubles. Un Johnson donnera un coup de main
quand on a besoin d'aide. Il ne restera pas planté quand quelqu'un se noie ou
est bloqué dans une voiture en feu. La
seule chose qui pourrait unir la planète serait un programme spatial
commun... la terre devient une station spatiale et la guerre est simplement
abolie, absurde, complètement insensée dans un contexte de centres de
recherche, de bases spatiales où vous avez la joie de travailler avec des
gens que vous aimez et respectez dans un but convenu, un objectif où tous les
travailleurs seraient gagnants. Le bonheur est un dérivé de la fonction. La
station spatiale planétaire donnera à tous les participants une occasion de
fonctionner... The Place of Dead Roads . Publié par Christian Bourgois sous le titre
: "Parages de Voies Mortes" |
NON-ARISTOTELIAN FUNCTIONS OF WRITING We are trying to
use writing independently on the literary criteria, applying its
non-Aristotelian functions described by Alfred
Korzybski, and experimented
by Burroughs and Gysin: 1. Symbolic
function of language (Korzybski): a word is a symbol, a sign which
stands for something, hence writing is supposed to represent as accurately as
possible the facts and events it describes, otherwise the level of the words
is not similar to the level of the facts, the map is not similar to the
territory it represents. 2. Fonction of
time-binding (Korzybski): writing binds the author to the reader through
space-time: when I read a text, I am bound to his author at the moment and in
the place he wrote it. 3. Magic fonction:
described and experimented by Brion Gysin and William Burroughs. It consists in creating
reality: "Writing is about making it happen" (Brion Gysin): "Mektoub, c'est écrit": a writer writes a scenario of reality,
which his readers can then actualize in their own life, creating their own
reality. 4. Through the link it creates between the author and
the reader, writing instaures a collaboration
between them, which produces, in function of the mathematic principle of
non-additivity, a phenomenon called by BURROUGHS
et GYSIN the "Third Mind": in
human relations, 1+1=3. " Gysin:
when you associate two minds... Burroughs: There is always a third mind... Gysin:
A third higher mind... Burroughs: Like an invisible collaborator. " (The Third Mind) One of the aims of Interzone consists in raising awareness about those
functions, the knowledge of which remains limited to BURROUGHS' and KORZYBSKI's readers, and to apply them practicly. |
FONCTIONS
NON-ARISTOTELICIENNES DE L'ECRITURE Nous
tentons d'utiliser l'écriture indépendamment des critères admis en
littérature, en appliquant les fonctions non-aristotéliciennes de celle-ci
décrites par Alfred Korzybski et expérimentées
par Burroughs et Gysin: 1. Fonction symbolique du langage (Korzybski): un mot est un symbole, un signe qui
représente quelque chose, aussi l'écriture doit-elle
représenter aussi précisément que possible les faits et les événements
qu'elle décrit, sans quoi le niveau des mots n'est pas similaire à celui des
faits, la carte n'est pas similaire au territoire qu'elle représente. 2. Fonction
de time-binding
(Korzybski) : l'écriture relie l'auteur et le
lecteur à travers l'espace-temps : quand je lis un texte, je suis reliée à
son auteur au moment et à l'endroit où il l'a écrit. 3. Fonction
magique: décrite et expérimentée par Brion
Gysin et William Burroughs, qui consiste à créer
la réalité : "L'écriture sert à faire arriver les événements"
(Brion Gysin): "Mektoub,
c'est écrit": un écrivain écrit un scénario de la réalité que ses
lecteurs peuvent ensuite actualiser dans leur propre vie ,
et créer ainsi leur réalité. 4. A travers le lien qu'elle crée entre l'auteur et le
lecteur, l'écriture instaure une collaboration entre ceux-ci, qui
produit, en fonction du principe de non-additivité mathématique,
un phénomène appelé par BURROUGHS et GYSIN le 'Tiers
Esprit": en matière de coopération humaine, 1+1=3. "Gysin : ... lorsque
vous associez deux esprits... Burroughs : ... Il y a toujours un tiers
esprit... Gysin : ...
Un tiers esprit supérieur... Burroughs : ... Comme un collaborateur
invisible." ( Oeuvres Croisées) Un
des objectifs d'Interzone Edition consiste à engendrer une prise conscience
de ces fonctions, dont la connaissance reste limitée aux lecteurs de
BURROUGHS et de KORZYBSKI, et à les appliquer
pratiquement. |
Words and Images
From Rick Gentry -
September 29th 1997
To : Gary Leeming; BAUDRON Isabelle;
¤É¤­¤ó¤Á¤ã¤ó
Objet : word and image
Hola companeros,
I find this
discussion of images very interesting. There's a special irony in the fact that
B & B were such appropriators of word and image. Brion
said "... steal everything in sight." I mean, the lines get
increasingly blurred the more deeply one investigate who owns images. And I
appreciate the fact that the image police jealously guard their offspring,
rightly enough. It is there that there power resides and they know it. Most
people don't inquire into the nature of word and image; we are more or less
aware of the process, we understand that their toothpaste won't make us popular
with the opposite (or same) sex ( tho' don't neglect
your hygiene!) and that their tennis shoes won't complete our self-image. They
always angle for the lowest common denominator in pursuit of their true god
($$), thereby a priori preventing any real act of creativity. By the way, I do
not intend to make light of the fact that some people feel they own images and
want to get paid for them- their record for ruthlessness precedes them- but in
the case of Gary's example of the museum and their "watermark," how
do they intend to enforce this? The web is a gigantic area to try to police
with only a few cops. But I'm rambling. What I want to ask is at what point
does an image become sufficiently changed so that it is no longer itself? For
example, the animated gif of the Burroughs stamp that Jeff Klein sent: who does
this image belong to? I think it was a photograph originally. Is it his or her
image? Then someone made a "stamp" out of it. Is it now his image? Then
someone comes along and colorizes it ala the image
that Yana sent of Bill on the roof. Whose is it now? Then someone adds
animation. Now what? This is an area as unclearly defined as
"obscenity." Who decides and by what standards? It is clear that
pursuing the question of image-ownership leads to deeper and deeper levels of
absurdity the farther one takes it. An image that someone creates- a painting
for example- is composed out of the contents of one's
"consciousness," which is nothing but a great image chain stretching
back to birth. Or if it is a painting of a thing, a tree for example, at what
point does it become the painter's? In the case of those wonderful collages of
Agent Zero, when do all those separate images that he appropriated and
rearranged into a combined whole, when is this his artwork? Very
interesting questions to ponder. Whose now
image is it? Now image, it is whose? Now is whose image, it? Whose image is it
now? B & B saw that those word and image lines are what keep us bound to
time and place, that the structure of our finite consciousness is literally
composed of word and image. So if you don't like the image (
And I do not), cut, paste and rearrange... "Kick that man habit,
man." Indeed.
This leads me to
comment on Foe's idea of making ridiculous images and websites, etc. Yes. Hopefully sublimely ridiculous. Satire is still sound as
method. All these images that we have inherited do not belong to us; so we take
the images the Spectacle has used to control us, reflect them through our
funhouse mirrors and give them back to them distorted or metamorphosed or we
drop them in pieces at their feet. In pieces.
" Again and again
some people in the crowd wake up,
They have no ground in the crowd,
And they emerge according to much broader laws.
They carry strange customs with them
And demand room for bold gestures.
The future speaks ruthlessly through them."
-- Rainer Maria Rilke
Great love to all,
Agent Ricochet out.
December 1997 :
The concept of the Zone as a psychic refuge :
Dot Zero
I would like
to expand on this concept of THE ZONE as a psychic refuge for artists,
example: when the gang
helped me block off the evil forces that where threatening my creativity to
create my magazine.
Hey sister,
I want you to
know you are now an official member of THE ZONE!
The Zone is
being created to protect creative artist from the
uncaring masses, politicos
and art flunkies.
OUR SLOGAN :
THE ZONE
PROTECTS IT'S OWN!
While the Zone
is against all forms of physical violence
any member who is
physical threatened or stalked by
demonic forces will
protected by any means neccessary.
love
THE ZONE IDEA, BUILDING IT
AS A VISUALIZATION , IN HAWAII THEY HAVE A PLACE
CALLED CITY OF REFUGE. IF SOMEONE WAS A CRIMINAL AND COULD REACH THE CITY OF
REFUGE HE COULD NOT BE HARMED INSIDE THE CITY.
SO THE ZONE IS A PLACE WE
GO AND ARE PROTECTED, IF ALL MEMBERS OF THE GROUP
START BUILDING THE
VISUALIZATION WE MAY BE ABLE TO CREATE A GROUP MIND PLACE THAT EXISTS AND ANY
MEMBER CAN GO THERE BY USING CREATIVE
VISUALIZATION TECHNIQUES.
LOVE
A.
I propose that one of us should paint or collage or
otherwise construct a visual temple of some sort to house our collective
stillness and integrity and purity of purpose. We could also use an image or
building or idea that already exists. I think A. was pointing to this with the
City of Refuge that exists in Hawaii, on the other
hand, it might be best if it was constructed by one or a group of us, to be used
by us.
We could make "deposits" into our Psychic
Temple when we are happy and centered, just take a couple of minutes to
visualize the Temple and channel our best energies into it. Then, when we are
psychically clogged or out of sorts in any way, we can visit the Temple and
avail ourselves of the energies that are stored there. It would function as a
zone of protection and support and enlightenment. Has anyone ever conducted an
experiment of this nature? Will it work? What will
happen? "I don't know.
Let's see." R.
We have decided... July 98 : Rick We have decided, individually and collectively, that
social "reality," as it exists at the end of the 2nd millennium,
does not satisfy our aesthetic or practical needs. We hereby intend to write
a future that will accommodate the liberation of our desires. We seek an art with teeth. And we seek a society
that will not only accommodate our desires but support us in their
expression. This medium will not concern itself with commerce
except as a means of survival. We live only one life. Must we live it bound against
ourselves, impotent against the forces of conformity? -Dick Shea, Bureau Chief, Interzone
Psychic Hygiene |
NOUS AVONS DECIDE ... Juillet
98 Rick "Nous
avons décidé, individuellement et collectivement, que la réalité
"sociale" telle qu'elle existe à la fin du deuxième millénaire, ne
satisfait pas nos besoin esthétiques ni pratiques. En conséquence nous avons
l'intention d'écrire un futur conforme à la libération de nos désirs. Nous
sommes à la recherche d'un art mordant . Et nous
sommes à la recherche d'une société qui non seulement sera conforme à nos
désirs, mais qui nous soutiendra dans leur expression. Ce
médium n'aura pas de rapport avec l'argent si ce n'est comme moyen de survie.
Nous ne vivons qu'une vie. Devons-nous la vivre enchaînés contre nous-mêmes,
prisonniers des forces du conformisme ?" Rick Gentry,Chef
du Bureau de l'Hygiène Psychique d'Interzone |
From: subterranean61
Sent: Saturday, September
16, 2000 6:16 PM
Subject: InTerZoNE [Yahoo! Clubs: THE INTERZONE
COFFEE HOUSE]
InTerZoNE
For me this place exists in everone's mind
somewhere, it's a faraway land, one of constant travel and intrigue, of dark
and hidden secrets, and of realized and forgotten anguish. It's dusty, and hazy..sunny orange haze. It's a
place where one might go to become anonymous and blend into the wall with all
of the other "perversives" or maybe just to blindly walk along. It's a place to escape for some, it's a place you cannot escape for others. No matter
the place, no matter the reference we all have it, no matter what you may
think. We all have our Tangier.
Here's what Interzone was for William S. Burroughs,
give a look at the link if you wish, it's quite an interesting read :
http://www.bigtable.com/primer/0008a.html
- subterranean61
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