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Shake the disease

Secret B-Sides of the Song of Songs by Robyn ArtMusic to rattle your gourd to
Music to maul the Beloved to
Music to maul the beneficent effigies of the Beloved to
Music to quiver astoundingly to
Music to breathe through a rubber gorilla mask to
Music to mangle the apparatus to
Music to stroke the cloistered thighs of strangers to
Music to assemble -the -hand truck- while- fully -engorged to
Music to finger appendages to
Music to stroke the faceless multitudes to
Music to say I-love-you-and-can-I-ram-this-head cheese-down-your-throat to
Music to smear undulants across the haunches of the Faithful to
Music to sustain moisture-related injuries to
Music to ream the corporeal corridors of your soul to
Music to jostle purposefully to
Music to swaddle the meat of infamy to
Music to heave against flesh-hillocks to,
Then leave by the swinging door.
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Offenbach, Powell, Pressburger & Rumble.
Michael Powell and Emeric Pressburger’s 1951 version of Jacques Offenbach’s opera “Les Contes d’Hoffmann”.
We should not be.
Here.
We should not.
Here.We meaning
me and you and you.Should not. Be.
Here. I mean. Love.
Of possession. Love.
We. Do not. Belong love.
Here.Possess we should. Not
belong.We here. Mean. Love.
Possess. Here.Possesses we should. Be
not we. And here.Love here we.
Belong possess. Here.Love and mean.
We. Here. Mean.
Love. You and we.
Here.Should not here. Love.
–without a ghost of a chance
Belong.
Text extract from “Key Bridge” by Ken Rumble.
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albrecht & LSD
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in Rotterdam–in 15 minutes
OBJECT: Public lecture by Yann Chateigné Tytelman
TIME: tonight at 7.30pm
LOCATION: Piet Zwart Institute, Rotterdam
CONTENT: Mimetic Powers: Modernity and Its Double in Art, Theater, and Anthropology
SYNOPSIS (extract): This lecture will focus on the notion of the “mask” in order to approach the theatrical dimension of works by different artists based on a look at various forms of popular rituals through specific methodologies. The lecture will be divided in three parts. 1) “Negative Joy: Art and Folk Rituals” will effectively explore the anthropological aspect of works questioning transgression and mimicry in popular culture. 2) “Effigising: A Living Iconology” will study the becoming picture of living bodies in researches activating a speculative mise en scene of history. 3) “Counterworlds: Unmasking through Unstable Identities” will interrogate the political dimension of projects by or with specific communities creating their own universe.
To be evoked, among others: fakes, copies, allegory and caricature, specters, demons, grimaces, chimeras, grotesque, aliens, science fiction, ormanent and décor, entertainment, decadence, degeneration and devolution, trickery, pop, impostures, mirrors and illusion, secessions, communes, imaginary and secret societies, fear, spectacle, joy, sublime, utopias, eccentricities, transvestite, impersonators, animals, fauns, wild men, burlesque, comedy, rock, violence, otherness, alterity, folklore, make up, parties, camp, trance, dance, and hallucination.
Voltaire’s death mask
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Boy with Toy Soldiers
In Pier Paolo Pasolini’s 1970 article “Unpopular cinema” (Il cinema impopolare), now included in “Heretical Empiricism”, he articulates in detail the non-dialectical relationship between cinematic author and cinematic spectator in terms of liberty and liberation. He starts by abruptly suggesting that liberty is ultimately nothing else than “the liberty to choose to die”.
This oppository (oppositorio) conflict which takes place in the “unknowable depth of our soul”.

Boy with Toy Soldiers
c. 1876
Antonio Mancini (Italian, 1852–1930)
Oil on canvas, 29 1/2 x 24 3/4 inches
Philadelphia Museum of Art, Vance N. Jordan Collection, 2004
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Santa Lucia
Her hagiography tells us that Lucy was a Christian during the Diocletian persecution. She consecrated her virginity to God, refused to marry a pagan, and had her dowry distributed to the poor. Her would-be husband denounced her as a Christian to the governor of Syracuse, Sicily. Miraculously unable to move her or burn her, the guards took out her eyes with a fork.
(wikipedia)
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can’t resist
for some reason, the weird thumbnail size image really seems to bring something to the somewhat kitsch version of the song! does anyone know who the author is?




