notes, quotes, provocations and other fair use 2004 by jouke kleerebezem

issue 91
conversational drift
informatic license
exquisite enclaves



find the 7 differences of pantalune care

pantalune spine

d’nl jusqu’au m’lin

Après Auxerre, je respire. À partir d’ici la lune pleine m’accompagne jusqu’au Moulin. I'm returning through the night — most literally when just before accessing the Paris périférique suddenly my headlights fry and I must circle it too close behind a slow truck, in order not to be a danger for my fellow Friday night travellers, speeding for their week-end destinations — from an eight day NL trip, from the Doors PLR to a Stroom/fusedspace interview session followed by The Hague flash shopping for strooigoed, oude Purmer, gestoomde makreel, tempeh and whatnot.

The visit was successful beyond filling shopping baskets. Sulki, Min, Tamara and Dan get to design the fusedspace exhibition. Their presentation was superior, both conceptually and at the level of time and energy invested. They had even already emptied the fusedatabase of its images and texts and re-arranged them for a more fluid access. The committee members are swept of their feet. Now that they’ve been selected it means another story for Jan van Eyck to participate. Particularly also for Ubiscribe, while at the same time this projects is very relevant to the Authoring the City effort, which up till today lacked serious media penetration, apart from Dan and Tamara’s ‘vanes’. What becomes clear to me is that this generation manipulates data like mine did paint or wood, the atoms. They are fluent at it. If there's a have/-not chasm to be located it opened right there, over the past decade, between those who stuck to atoms and those who pushed bits. Only the plus ça change, plus c'est la même chose law keeps my generation insightful outside the archive. ‘Nerds will inherit the earth’ — ’twas Paul who said it, I’d say we come with the inventory.

splendid confusion

max ernst collage 1920

Max Ernst’s Fatagaga 1920
To confuse life and work and fact and fiction makes me happy. To mix the reality and the dream is one way to make sense. If one or the other is taken out of the equation, nothing happens anymore. In order for any good stuff to happen we wildly mix blood and guts, confuse reality and fantasy, drift infinitely.

Certainly it is a lot easier to feed all of our shared interests a fixed perception which we more or less agree upon. Such is what elects our politicians, buys our commodities, programs our television shows, builds our careers. A moment later it kills our ambitions, poisons our consumption, throws us into unemployment and fucks our brain.

D'une pierre deux boums — to the phramacy near you

Heheh... Combining an old and a new title there, can tell? The pierre qui fait booms was waiting for last week’s story of Catherine to be told, waiting on hold embraced in comment code. Then tonight I was struck by the ‘phramacy’ in my mail. I hardly ever get excited about the ‘poetry’ of spam lines my ass but phramacy is funny. So Catherine I did not hear entering the other day, before I left to NL, when I had the Stereo up real loud at the Moulin Orchestral Manoeuvres in the Dark in a fit of 1980s retro and was typing away in the dining room when all of a sudden she stood in the doorway and raised her voice to ask if I was doing a boum. Guess I was if that’s what you call it. When I suddenly remember the French expression for killing two birds with one stone and kook up the title. Which was then later added the phramacy. Oh well. Whatever.

At Doors PLR I run into Jussi and Valentina who I first met at DoorsEast in Bangalore. Good to see them again. It appears also Jussi globs. The next day Claudia and I meet with Willem Velthoven to take a better look at their anyMeta. That software impresses me a lot. It could make a superior personal publishing engine. I am not saying weblog here, it does not necessarily follow the date imperative. On the contrary it is faithful to Willem’s early acknowledgement that really God is in the link. It pulls relevant documents together to present them in one interface. Of course relevant here means relevant to the author(s). If a reader starts out on a search, like in the case of NQPaOFU on all time favorites ‘té bheag’ or ‘agamben’ s/he will be presented with a set of mutually relevant objects — texts, images, keywords. If the latter are chosen to be presented a reader can pitch the search. Authors can finely validate the relationship between two post in multiple ways, not just by keywords but by contributing value points to the links. The software demands clear editorial priorities before you start. You have to consciously build your publication framework and functionality, then use it and see what surprises it brings also yourself. Launch and learn.

Back in Maastricht I see The Door in the Floor which is disappointing with its caricature artist, and Comme une image by Agnès Jaoui and Jean-Pierre Bacri, Ja-Bac, which makes me homesick, even with all of its male and female manipulation, all too recognizable our times and generations, at the Lumière theatre. FYI those who think I never play. I take a membership card and promise myself to go out more.

of course I'm concerned with the question of light

light reflecting from metal and ceramic surfaces

In order to make ideas stick, opening a possibility for them to make sense, one is genuinely forced to return to them very very often.

Museum in ¿Coma?

The Museum in ¿Motion? is discussed with a zeal as if we are looking at a living system. The museum of contemporary art, which — with its architecture — is the object of 2 days of academic nit-picking, to me however is a ghost. Incidentally speakers confess their ‘nostalgia’ for a utopian construct, like high culture, and a museum of truly ‘modern’ art which is not a museum devoted to the history of modernism, but instead keeps alive a contemporary idealism in a lineage with traditional modernism — which artistic attitude has long disappeared, with its museum, or even maybe with ‘the’ museum? Another possibility for this disappearance could be found in the institution’s traceless dissolution in the mode of consumption of a museified, thematized, annecdotal, commodity saturated everyday. The irremediable narrative. An absent museum serves as a reference-of-choice in the discussion of the art museum’s mobility. We’re flinging a dead horse.

Notwithstanding the above, a 20 November re-opening expanded MoMA and ad nauseam the Bilbao Guggenheim are the favorite reference. Do we love to hate them. They are countered by derives, insituable art, and other slow strategies. I take notes and get me ideas or take down comments.

Inertia is an institutional reflex.

Collected... forgotten.

Open curating?: setting up a Wikipedia-style art database which allows for infinite addition and tagging.

Every artist works for the museum.

Rather a visitor who counts, than counting visitors.

At the MoMA visitor numbers do not go up but on average people stay longer in the museum.

The museum as a place of gathering in an art context, rather than necessarily a (let alone the ultimate) place to see art, this being just one of the museum’s possibilities, offering art just one of its sites. Develop the museum accordingly. A connecting device.

Beyond consumption as a quick fix find new ways of knowledge gathering in an engaging art (devouring rather than consuming) context.

How would one believe in everything being a construct and thus ideological, without admitting ones own perceptions and conclusions suffering the same flaw. Academic naiveté.

Even while the Mona Lisa was temporarily removed from its Louvre room, visitors crowded to look at the vacant spot. Revenge of the spectator?

The demand for another place (for contemporary art) than the Museum neglects the fact that the contemporary museum already has become such ‘another place’ different from the Museum.

Unsituable art?: investigate sites within subjects in relationship to sites without space, like ‘web’ sites.

“Le vertige du déplacement.”

MoMA’s expansion/renovation architect Yoshio Taniguchi: “if you give me some money I’ll build you a nice museum; if you give me a lot of money I will make it disappear.”
“Take everything away in order to make me see!” — Paul Valéry, in Monsieur Teste

ladies Duc carriage

As a detour from my return trip to F, on Sunday morning I visit the private La Diligence museum in Heerlen. All of its several hundreds of carriages and sleighs, forming one of the world’s largest collections, are on auction (temporary link) after its owner’s untimely death. The first carriage (#190) that I stumble upon is almost exactly like my Berger Wagen, an Austrian ‘Ladies’ Duc’ model, I learn, from the late 19thC, certainly not 1849, a ‘four-wheeled sporting-carriage with high dashboard, hinged children's seat and low step, drawn by single or pair of horses’.

born again islam

‘The political imagination of Islam’: conversation with Olivier Roy. In the Neo-Fundamentalism chapter we find a passage which is relevant to other world political figures and systems:

We know since the French revolution that once virtue is in charge, it leads to terror, for a simple reason: nobody is virtuous enough. So one is always trying to expel the devil, the evil in us, and this leads to terror. It's why a good political system can work only on institutions and not a presupposed virtue of the leader. Any system based on the idea that our leaders are the most virtuous of everybody is doomed to failure.

To whom it may concern. Self acclaimed virtue is the motor of contemporary politics in the West.

god is dood

Vriendin Andrea B. wrijft het graag in: ‘it’s not about you’ als we te snel over onszelf beginnen met een eigen mening komen naar aanleiding van een onderwerp van gesprek. De afgelopen dagen wordt ik daar om de haverklap aan herinnerd. Het gaat over van Gogh — it’s not about you, van de Westelaken, Holman, Wilders, van Aartsen, Verdonck en ga zo maar door. Bien étonnés de se trouver ensemble? Het mediacircus doet de stad aan.

‘God is dood en ik voel me ook al niet lekker’ zeggen ons telkens de onverwacht talrijke vrienden van het vrije woord. Je zou ze een sneer van van Gogh verkopen, maar ook hij was selectief in zijn ongenoegen. Dat is hem moeilijk kwalijk te nemen. Kwalijk is natuurlijk de ‘humoristische’ want ‘sarcastische’ (open, ja natuurlijk, open!) brief van de vrienden aan de verdachte, lees de moordenaar van hun Theo. Hoezo lach of ik schiet? (‘Wat vervelend dat het zo gelopen is. We hadden geen idee dat het allemaal zo gevoelig lag. We hebben ons lesje wel geleerd! Gaat het een beetje met je been?’). Haha! integratie. It’s not about you! Of ging van Gogh ook al vooral over van Gogh? In welk medium wel en in welk medium niet?

Productiemaatschappij Column heeft ondertussen na het bekendmaken van de inhoud van de open brief van de dader besloten het feest ten afscheid van van Gogh niet op televisie uit te zenden. Alweer een interessant geval van onverwachte causaliteit? Ik kan me voorstellen dat je de locatie van de door de overledene zelf beoogde zuippartij buiten beeld houdt. Het zou eens een verdwaalde dreigbrief aan kunnen trekken. Beter nog lijkt het mij, dat je om ongestoord je woede en verdriet de vrije loop te laten en vrij uit te schelden en te janken de media eens een keer buiten de deur houdt. Maar in de wonderlijke variété der mediale aandacht tellen een of twee corrupties van privé en openbaar meer of minder niet.

the platform is the message?

Every opinion needs a platform for it to unfold and be shared, a channel to be distributed. With every platform, the opinions it contains communicate their supportive environment. Albeit the early information age’s preoccupation with social media, for some discussions the proper platforms lack, and old platforms die. Indeed common politics have lost many of their platform qualities capitulating to the media economy of volume and traffic prioritizing — eyeball economy. For opinions which benefit from stability, the mass media are the hard media. Reasons for a need of stability can be found in hesitation of expression, a need for development time, weighing arguments, relativizing the spur of the moment, relativizing the value of the conclusive. To be continued. Networked media spread the news infinite in all directions, in real time — which can be counted as like rather fast. Of course you have to find yourself in its trajectory in order to notice it. Your attention cannot be everywhere at once. You can only tap so many sources at the same time. To be continued.

Besides: you are your own platform, pretty much. Your personal media outlet channels your interests and opinions. To subscribe your opinion to an existing platform is less evident.

film maker Theo van Gogh, 1957-2004

The ritual murder of film maker Theo van Gogh last Tuesday morning at broad daylight in Amsterdam does not leave us in peace. The Islamic fundamental — derailed, yet not an isolated case — offender hoping for martyrdom but simply shot in the leg when arrested, gunned his victim from his bike then cut his throat and stuck an uncanny letter to his body. Five pages of gross notes and insults, cut-and-paste Islamic fundamentalism, threatening known and unknown ‘backsliders’, primarily addressing liberal politician Ms. Ayaan Hirsi Ali (consequently miss-spelled as Hirshi Ali), who recently made short film Submission with van Gogh, critiquing the position of women in Islam.

Another piece of paper was carried by the 26 year old Dutch/Moroccan double nationality killer (‘suspect’, I know): a good-bye letter that was to be found ‘sieved by bullets, soaked in blood’. I am not the only one to copy the letters. You will even find their image at Wikipedia NL. It’s an obligatory read for the Dutch. The message to our society is blunt and clear: we despise it and will destroy it. To some very violent, integration is not an option. It leaves the Netherlands in a state of confusion, in which one idea prevails: enough is enough. Under the current administration it is however hard to conceive of a political reflection of this sentiment. It’s even disputable if such would be possible under any rule. After the gathering of some 20.000 on the Dam square the night of the crime, Dutch citizenry will have to pick up on the development of its society at every level, from every pocket of resistance and any belief system or social interest.

Freedom you all want, you want freedom. Why then do you haggle over a more or less? Freedom can only be the whole of freedom; a piece of freedom is not freedom. You despair of the possibility of obtaining the whole of freedom, freedom from everything, yes, you consider it insanity even to wish this? Well, then leave off chasing after the phantom, and spend your pains on something better than the — unattainable.

(Max Stirner, Der Einzige und sein Eigentum)

Main stream politics echoes Bush’s ‘War on Terror’ rhetoric in its reaction to the past days’ events. As in the case of the CIA after ‘911’, Dutch intelligence services get the blame for not having seen this coming. The mice roar. The Netherlands has been ‘declared a Jihad’ sez Mr. Zalm, Vice Prime Minister and Minister of Finance. It is appalling how little sense the current administration makes, how unreliable it is in its concern, how blatantly it displays the signs of an ill founded desire for control and moral supremacy. None can be granted. Not a single authentic idea comes from those in power, not one single original thought, proposal, or emotion. Prime Minister Balkenende never convinces, neither in his reasoning nor in his style. We have a generation of politicians which is not up to the job of guiding this country. In the opposition on the right hand side we have a liberal party escapist who announces a new political faction the day after the killing, flirting the fact that he too received a copy and paste threatening letter. How obsessed with power can one be? Immediately the polling machine starts to gauge the new party’s voter appeal and turns out some 7-18 seats in the House of Commons... Who wants to know? How relevant can these deviant statistics be. As little relevant as a new xenophobe right-winger.


cranes due south

Cranes due South. You hear them talking before you see them flying. Straight over the Moulin straight South.

Hey Joe

theo van gogh portret 1957-2004

portret van Theo van Gogh door kunstenaar Donovan Spaanstra
op de gevel van een pand in de Warmoesstraat
2 op 3 november 2004, Nederland 2, RTL 4, Saint Germain des Bois. Op wat toch al een bonte nacht met veel Amerikaanse poppenkast beloofde te worden, hebben de media uit de omgeving van de vanmorgen ritueel vermoorde Theo van Gogh een kleurrijk gezelschap getroffenen over de studiovloer gehaald. Helder en precies sprekende collega’s en vrienden als Yoeri Albrecht (‘over een paar dagen is deze aandacht over en Theo gewoon dood’), maar ook politieke opportunisten van een genre post-Fortuyn, die een omgebrachte ridder van het vrije woord kunnen gebruiken om Nederland minder vrij te maken, krijgen de ruimte. De multiculturele kroon spannen Barend & van Dorp — commerce oblige — waarbij het gemengde berichten - gemengde overtuigingen - gemengde gevoelens formaat iedere aanwezige optimaal bedient. Tot half vijf  ’s ochtends en nog geen president zap ik heen en weer tussen een klassiek Nederlandse Maartje van Weegeren en de al even traditioneel Hollandse tafel van B&vD, waar Prem Radhakishun de af- en aanschuivende culturati Surinaamse specialiteiten uitserveert. Ik vergeet de namen van de meeste personages gemakkelijk. Je ziet ze wel vaker op de tv. Ze komen uit de politiek, de literatuur, media en muziek, journalistiek. Ze hebben ook een gewone dagelijkse bezigheid waar ze zich met hart en ziel aan geven en waarin ze, als iedereen, van middelmatig tot bijzonder presteren. Soms brengen we de zorgvuldige aandacht op die hun werk verdient. Op tv zijn ze meestal niet te pruimen.

Terwijl conservatief Amerika John Kerry langzaam maar zeker van het wereldtoneel drukt ligt Theo van Gogh geofferd in Amsterdam. Tot voor vandaag werden die twee niet niet in éen adem genoemd. Theo dacht niet zo politiek. Hij wilde nota bene Nederland voor de VS verruilen zodra zijn zoon het huis uit zou zijn. De blazers in Wilson Pickett's Hey Joe, of een andere vrijheidsmythe, lokte hem er naar toe. Zoals het ‘vrije woord’, dat hem uiteindelijk met een Korancitaat in de maag gesplitst op het koude asfalt van het fietspad aan de Linaeusstraat doet belanden. Het witte laken lijkt inderdaad op twee tentstokken te hangen, zoals een over zijn balkon leunende stadgenoot opmerkt. De laatste woorden die van Gogh misschien heeft gehoord moeten 'doe het niet, doe het niet' zijn geweest, geroepen door een vrouw met kind verscholen achter een auto, tegen een aan tradities en politieke ideeën die voor ons volstrekt ontoegankelijk zijn ontvlamde aanvaller. Theo deed niet aan cultureel relativisme. Anders dan in de door hem uiteindelijk verketterde jaren 1960-70 zal cultureel relativisme de hedendaagse Nederlandse samenleving ook niet verlossen van fundamenteel fanatisme. Daar zijn krachtiger ideeën voor nodig.

Rockin' in the Free World. Als ik in een van de vele fragmenten een jongere van Gogh in een zwart leren jack naar Hey Joe zie luisteren en enthousiast de blazers hoor aankondigen: nu komen die trompetten!, moet ik ook aan Boudewijn Büch denken. In weer een ander televisieproduct lopen Theo en Boudewijn samen door park De Pauw in Wassenaar. Een van tweeën zet zich nog op een leeuwenrug, bij de badkuip voor het Raadhuis. Die lokatie had Theo in Luger al gebruikt. Mijn oude leraar Nederlands, Veurman, deed er geloof ik zelfs de deur open. Ging daar ook de poes de centrifuge in? Het kille marmer van de grote katterug voor de villa herinner ik me in elk geval nog goed aan mijn kinderkont. De Pauw diende in Wassenaar als decor van zondagse wandelingen en puberale vrijpartijen in ‘de bosjes’. Een plek waar we volwassen proberen te worden. Hey Joe!

Dwarse fantasten en recalcitrante kunstenaars uit de baby boom generatie hebben een vorm van geen enkele autoriteit erkennende vrijheid voortgebracht waarvan Theo een sprekend voorbeeld, uitgekookt exploitant en groot genieter was. Een bijzondere combinatie van temperament en tijdgeest, karakter en opvoeding, traditie en kritiek vormde deze van Gogh, het klimaat was hem gunstig gezind, Nederland baalde van hem en hield van hem. Iemand herdacht hem ongeveer zo: als een uniek product van bepaalde historische ontwikkelingen, waarvan een samenleving er maar weinig cadeau krijgt. Het product van een significant ander karakter en opvoeding, uit een andere traditie en met een andere kritiek op het culturele en politieke klimaat heeft naar schandelijke middelen gegrepen. De kloof is onoverbrugbaar.

< 90 nqpaofu 92 > 1998-2004 jouke kleerebezem Notes Quotes Provocations and Other Fair Use