"HSCB" deeming postmodernism as a terrorist act against the U.S.

Ex to hear ya sharp Childs. I got a date with Rapson to talk arkyteksher
and millhut. I got Ace Frehley and Peter Criss.

Holy holy holy is the Lord God Almighty. Plus O I forgot, personal vanitas
is the only evil, never large power-systems. Energy is evil (said Billiam
Wlake in "The Marriage of Heaven and Hell".)

Max


>From: "andrew childs" <[email protected]>
>Reply-To: "andrew childs" <[email protected]>
>To: <[email protected]>
>Subject: RHIZOME_RAW: "HSCB" deeming postmodernism as a terrorist act
>against the U.S.
>Date: Thu, 19 Sep 2002 14:09:47 -0400
>
>this is from the "Homeland Security Cultural Bureau"
>so-disturbing-it-can't-be-legitimate website - http://www.hscb.org
>
>- andrew
>
>
>========================================
>
>
>http://hscb.org/res-story-postmodernterror.htm
>
>The Terrorists and the Postmodernists
>by Debbie Schmidt
>
>A Wonder of the World. Gone.
>
>To witness the obliteration of those glowing, lithe twins was a shock
>beyond
>comprehension. They were so playful; light danced on them as they stretched
>up towards the sky. They were so free; you could not say that they stood
>tall with pride because they were so unselfconscious of their beauty and
>height. They were so innocent; they believed in friendship, progress,
>creation, and joy. They were.
>
>There are people in the world who can't stand to see that beauty and
>creativity exist. The guy who took a hatchet to the Pieta of Michelangelo.
>The Taliban leader who chose to blow up the Buddhist cliff sculptures.
>
>On the other side of humanity, a vast majority of people felt universal
>shock. Waves of anger, sorrow, and sadness have followed. Though,
>personally, after I experienced the shock of the attack, I felt none of
>those other emotions. Instead a quiet calm spread over me and I knew it was
>a time for cold, calculating, and uncompromising action and thought. A time
>to expose evil and put it in its place. And a time to stand up proudly and
>defend the values of civilization against the onslaught of a species of
>human beings that romanticize destruction.
>
>The definition of civilization, found in the American Heritage dictionary,
>is an eloquent statement:
>
>"An advanced state of intellectual, cultural, and material development in
>human society, marked by progress in the arts and sciences, the extensive
>use of writing, and the appearance of complex political and social
>institutions."
>
>Every civilization has had artworks, including buildings, that represent
>that country's values. A unique aspect of art is that it represents the
>purpose of what one lives for. It represents the "point" of life. In a
>similar way, the art in major art institutions represent the soul of a
>culture or civilization.
>
>The World Trade Center has been that kind of symbol for us and I can think
>of no greater statement of civilization at its height.
>
>Apparently neither could the mastermind of the terrorists' attack.
>
>Terrorism, as I understand it, is based on destruction and murder, using
>shock tactics and unconventional means that result in a populace
>experiencing mass fear, anxiety, or apprehension. Though terrorists might
>state lofty aims, it is generally recognized that they don't have the
>character to create anything other than bring about destruction. And rarely
>will you hear anyone claim that they destroy for the sake of destroying.
>But
>if one looks at the results of terrorism one must conclude that their aim
>is
>simply to inject fear into their victims' state of mind. Fear is not the
>stuff that civilization is made of.
>
>Now that the World Trade Center is gone, what is going to replace it? I
>don't mean replace it only in the physical sense, but what is going to
>replace it as a symbol of civilization at its best. There are reports that
>a
>monument and four skyscrapers of 50 to 60 floors will be built on the site.
>But that project has something hopelessly anemic about it. It sounds
>prudent
>and safe and, absolutely, lacking in imagination. Of course the Empire
>State
>Building stands, but what about finding something new from our art culture,
>some artwork to hold up proudly as a symbol worth creating and fighting
>for?
>
>Unfortunately, the great American skyscraper is the exception to the state
>of serious art in contemporary western civilization. What dominates western
>civilization now is postmodern art. Postmodern art is a completely unique
>historical phenomenon. Every other culture through the history of humanity
>has proudly produced and honored painting, sculpture, architecture, music,
>and stories. But postmodern art, in theory and practice, is an anti-art
>movement. It prides itself on the destruction of the above mentioned forms
>of art and on shocking its audience.
>
>It starts theoretically with Kant's Critique of Judgement, a treatise on
>aesthetics. He elevates fear of experience and formlessness of means in his
>concepts of the Sublime and he condescendingly relegates form, theme,
>beauty, and sensory pleasure as elements of craftsmanship. It is an amazing
>piece of work. Imagine dismissing the principles that are the aesthetic
>foundations of Michelangelo and Beethoven as crass and replacing them with
>a
>principle of nothingness–as a superior aesthetic. Incredible.
>
>Louis Aragon, a Dadaist poet, rants, "No more painters, no more scribblers,
>no more musicians, no more sculptors, no more nations, an end at last to
>all
>this stupidity, nothing left, nothing at all, nothing, nothing."
>
>Tristan Tzara, another Dadaist, states pathetically, " Art is a private
>thing, the artist makes it for himself; a comprehensible work is the
>product
>of a journalist.We need works that are strong, straight, precise, and
>forever beyond understanding."
>
>Neither of these statements is understandable in the ordinary sense of
>communication between civilized people. But their stance is clear: they are
>for the obliteration of the forms and comprehensibility of art. But this
>attack is not limited to art. The obliteration of forms of human
>understanding results in fear and will likely lead to a snap with reality
>that will force the subject through a long descent into psychotic hell.
>
>At a recent exhibition at the New Museum of Contemporary Art in New York,
>one of the exhibits was a photo documentation of Paul McCarthy smearing his
>face and beard with excrement and using his head as a brush to "paint" a
>large white canvas. He is a professor of art at UCLA.
>
>Perhaps the best known and most widely and wildly academically acclaimed
>postmodern artist is Marcel Duchamp. He presented a urinal for an
>exhibition
>in 1917 in New York. A copy of it is in the Philadelphia Museum of Art.
>
>Our society, unwisely, has swept postmodern art away from its consciousness
>and, unfortunately, all real art with it. They have hidden it, like the
>insane uncle, mentioned only in whispers, tucked away in a sanatorium with
>a
>name like Village Heights. The whispers leave a hint in the air that if we
>acknowledge that our uncle is in fact crazy then somehow we will be equally
>affected.
>
>Notice how leading newspapers and internet news sites sweep art under such
>light and effervescent categories as Style, Entertainment, Arts & Leisure,
>as if putting art under pleasant headings will change the nature of it. My
>guess is that because of the disgusting or utterly puzzling content of
>postmodern art the news media feels more comfortable relegating it and
>consequently all art to a less than serious status. Imagine listing
>politics
>under Gatherings, or economics under Business & Play.
>
>But serious art and postmodern art are not the amusements of the masses and
>they are not accessories to life. Art is to culture what the soul is to a
>human being. If you try to ignore your soul, stuff it under a rug, or dress
>it up, it will rebel. A culture's art, like your soul, will not be
>dressed-up or repressed; if you do not respect its nature it will prick
>your
>confidence, disrupt your peace, or, possibly, sabotage your virtues and
>make
>you wish you never existed.
>
>Ignored as it may be, postmodern art, America's crazy uncle, is not in a
>sanatorium. Postmodern art rules the art institutions of western
>civilization. Its aesthetics are the criteria guiding curators and
>directors
>of contemporary art museums. It is the only aesthetic taught to upper level
>students in the major art schools around the world. It is the criteria used
>by the most influential art critics. It is debated in nuances of comical
>and
>absurd proportions by the scholarly community. It is the baying of sheep.
>Unless, of course, the sheep know what they are baying about. If they
>understand the point of postmodern aesthetics then they know that they are
>promoting anti-art. Which means that they are actively promoting the demise
>of civilization's art forms as well as Western art. Western art–Aeschylus,
>Michelangelo, Beethoven, and Yamasaki–represents the soul of the greatest
>civilization in humankind's history and postmodernists want to replace it
>with what? With the cynical spirit of Marcel Duchamp's toilet?
>
>Ominously, the postmodernists are as clever as bin Laden or whoever is the
>mastermind of the recent attack on civilization. Postmodernists have
>infiltrated our civilization's greatest art institutions. And they have
>done
>it with our naive blessings. They now represent America's art culture, its
>soul. They are the spiritual voice of America.
>
>And that voice is sending a message out to the world: "NOBODY IS HOME. Go
>ahead and dump on us. There is no one here to mind; in fact, us nobodies
>welcome it."
>
>How long do you give a country whose leading art institutions project the
>self-abasement of hatred, of self-pity, of cynicism, and of the
>living-dead?
>
>America is embarking now on a moral crusade to eradicate the evil of
>terrorism from the world. It is a sick irony of massive proportions that
>America, through its network of museums, dealers, intelligentsia, and
>funding, is the world's leading exponent of postmodern art. And that is a
>very big chink in her armor. The symbol for this aspect of her culture and
>equally well for the terrorists is the bloody formless waste that was the
>World Trade Center and its people. A symbolic and literal marking of the
>decline of a civilization. But this does not have to be. It is imperative
>that Americans do three things to repair the damage wrought on her by the
>terrorists and the postmodernists:
>
>
>* Make in clear to the postmodernist that their nihilism is not wanted. You
>do not have to be an expert in art to tell the director of a museum that
>you
>are disgusted by their exhibitions. It won't go by them unnoticed.
>* Support the arts that give you the experience that you are glad and
>thankful to be alive –works you can point out with pride.
>* And build a new Wonder of the World.
>
>
>
>
>+ une dans la gueule, and two for tea !
>-> post: [email protected]
>-> questions: [email protected]
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php




_________________________________________________________________
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This website is pretty brilliant satire, I'm thinking, and it may even
be run by someone with satirical intent who is collecting contributions
from sincere individuals, which is even more amazing. I hope this is
true, because if it is, it is one of the most succesful sites of this
type that I've seen. The only evidence that I could find is this:

"The terrorist attacks mean the United States should re-examine its
culture. I see, out of this sadness and grief, an opportunity for
America to re-examine our culture, to re-examine how we view our oil
interests, whether it be in our own neighborhood or around the world. We
have to take advantage of the third world countries, today more than ever."
- George Bush on Culture and the Terrorist Attacks


I don't think any site would put that on their front page, although I
can be pretty surprised by right-wing websites in general. It also seems
to support poetic terrorism and make a distinction between poetic
terrorism and "cultural sabotauge"- so maybe it's meant to subversively
inform the right wing of a healthy respect for some forms of
"subversive" art? It's run by Tom Paine Republicans maybe? Even if this
organization isn't a joke; it's still hilarious. The TIPS network for
artists to report fellow artists whose artwork doesn't present America
the way it deserves to be presented? Amazing….

-e.








andrew childs wrote:

>this is from the "Homeland Security Cultural Bureau"
>so-disturbing-it-can't-be-legitimate website - http://www.hscb.org
>
>- andrew
>
>
>========================================
>
>
>http://hscb.org/res-story-postmodernterror.htm
>
>The Terrorists and the Postmodernists
>by Debbie Schmidt
>
>A Wonder of the World. Gone.
>
>To witness the obliteration of those glowing, lithe twins was a shock beyond
>comprehension. They were so playful; light danced on them as they stretched
>up towards the sky. They were so free; you could not say that they stood
>tall with pride because they were so unselfconscious of their beauty and
>height. They were so innocent; they believed in friendship, progress,
>creation, and joy. They were.
>
>There are people in the world who can't stand to see that beauty and
>creativity exist. The guy who took a hatchet to the Pieta of Michelangelo.
>The Taliban leader who chose to blow up the Buddhist cliff sculptures.
>
>On the other side of humanity, a vast majority of people felt universal
>shock. Waves of anger, sorrow, and sadness have followed. Though,
>personally, after I experienced the shock of the attack, I felt none of
>those other emotions. Instead a quiet calm spread over me and I knew it was
>a time for cold, calculating, and uncompromising action and thought. A time
>to expose evil and put it in its place. And a time to stand up proudly and
>defend the values of civilization against the onslaught of a species of
>human beings that romanticize destruction.
>
>The definition of civilization, found in the American Heritage dictionary,
>is an eloquent statement:
>
>"An advanced state of intellectual, cultural, and material development in
>human society, marked by progress in the arts and sciences, the extensive
>use of writing, and the appearance of complex political and social
>institutions."
>
>Every civilization has had artworks, including buildings, that represent
>that country's values. A unique aspect of art is that it represents the
>purpose of what one lives for. It represents the "point" of life. In a
>similar way, the art in major art institutions represent the soul of a
>culture or civilization.
>
>The World Trade Center has been that kind of symbol for us and I can think
>of no greater statement of civilization at its height.
>
>Apparently neither could the mastermind of the terrorists' attack.
>
>Terrorism, as I understand it, is based on destruction and murder, using
>shock tactics and unconventional means that result in a populace
>experiencing mass fear, anxiety, or apprehension. Though terrorists might
>state lofty aims, it is generally recognized that they don't have the
>character to create anything other than bring about destruction. And rarely
>will you hear anyone claim that they destroy for the sake of destroying. But
>if one looks at the results of terrorism one must conclude that their aim is
>simply to inject fear into their victims' state of mind. Fear is not the
>stuff that civilization is made of.
>
>Now that the World Trade Center is gone, what is going to replace it? I
>don't mean replace it only in the physical sense, but what is going to
>replace it as a symbol of civilization at its best. There are reports that a
>monument and four skyscrapers of 50 to 60 floors will be built on the site.
>But that project has something hopelessly anemic about it. It sounds prudent
>and safe and, absolutely, lacking in imagination. Of course the Empire State
>Building stands, but what about finding something new from our art culture,
>some artwork to hold up proudly as a symbol worth creating and fighting for?
>
>Unfortunately, the great American skyscraper is the exception to the state
>of serious art in contemporary western civilization. What dominates western
>civilization now is postmodern art. Postmodern art is a completely unique
>historical phenomenon. Every other culture through the history of humanity
>has proudly produced and honored painting, sculpture, architecture, music,
>and stories. But postmodern art, in theory and practice, is an anti-art
>movement. It prides itself on the destruction of the above mentioned forms
>of art and on shocking its audience.
>
>It starts theoretically with Kant's Critique of Judgement, a treatise on
>aesthetics. He elevates fear of experience and formlessness of means in his
>concepts of the Sublime and he condescendingly relegates form, theme,
>beauty, and sensory pleasure as elements of craftsmanship. It is an amazing
>piece of work. Imagine dismissing the principles that are the aesthetic
>foundations of Michelangelo and Beethoven as crass and replacing them with a
>principle of nothingness–as a superior aesthetic. Incredible.
>
>Louis Aragon, a Dadaist poet, rants, "No more painters, no more scribblers,
>no more musicians, no more sculptors, no more nations, an end at last to all
>this stupidity, nothing left, nothing at all, nothing, nothing."
>
>Tristan Tzara, another Dadaist, states pathetically, " Art is a private
>thing, the artist makes it for himself; a comprehensible work is the product
>of a journalist.We need works that are strong, straight, precise, and
>forever beyond understanding."
>
>Neither of these statements is understandable in the ordinary sense of
>communication between civilized people. But their stance is clear: they are
>for the obliteration of the forms and comprehensibility of art. But this
>attack is not limited to art. The obliteration of forms of human
>understanding results in fear and will likely lead to a snap with reality
>that will force the subject through a long descent into psychotic hell.
>
>At a recent exhibition at the New Museum of Contemporary Art in New York,
>one of the exhibits was a photo documentation of Paul McCarthy smearing his
>face and beard with excrement and using his head as a brush to "paint" a
>large white canvas. He is a professor of art at UCLA.
>
>Perhaps the best known and most widely and wildly academically acclaimed
>postmodern artist is Marcel Duchamp. He presented a urinal for an exhibition
>in 1917 in New York. A copy of it is in the Philadelphia Museum of Art.
>
>Our society, unwisely, has swept postmodern art away from its consciousness
>and, unfortunately, all real art with it. They have hidden it, like the
>insane uncle, mentioned only in whispers, tucked away in a sanatorium with a
>name like Village Heights. The whispers leave a hint in the air that if we
>acknowledge that our uncle is in fact crazy then somehow we will be equally
>affected.
>
>Notice how leading newspapers and internet news sites sweep art under such
>light and effervescent categories as Style, Entertainment, Arts & Leisure,
>as if putting art under pleasant headings will change the nature of it. My
>guess is that because of the disgusting or utterly puzzling content of
>postmodern art the news media feels more comfortable relegating it and
>consequently all art to a less than serious status. Imagine listing politics
>under Gatherings, or economics under Business & Play.
>
>But serious art and postmodern art are not the amusements of the masses and
>they are not accessories to life. Art is to culture what the soul is to a
>human being. If you try to ignore your soul, stuff it under a rug, or dress
>it up, it will rebel. A culture's art, like your soul, will not be
>dressed-up or repressed; if you do not respect its nature it will prick your
>confidence, disrupt your peace, or, possibly, sabotage your virtues and make
>you wish you never existed.
>
>Ignored as it may be, postmodern art, America's crazy uncle, is not in a
>sanatorium. Postmodern art rules the art institutions of western
>civilization. Its aesthetics are the criteria guiding curators and directors
>of contemporary art museums. It is the only aesthetic taught to upper level
>students in the major art schools around the world. It is the criteria used
>by the most influential art critics. It is debated in nuances of comical and
>absurd proportions by the scholarly community. It is the baying of sheep.
>Unless, of course, the sheep know what they are baying about. If they
>understand the point of postmodern aesthetics then they know that they are
>promoting anti-art. Which means that they are actively promoting the demise
>of civilization's art forms as well as Western art. Western art–Aeschylus,
>Michelangelo, Beethoven, and Yamasaki–represents the soul of the greatest
>civilization in humankind's history and postmodernists want to replace it
>with what? With the cynical spirit of Marcel Duchamp's toilet?
>
>Ominously, the postmodernists are as clever as bin Laden or whoever is the
>mastermind of the recent attack on civilization. Postmodernists have
>infiltrated our civilization's greatest art institutions. And they have done
>it with our naive blessings. They now represent America's art culture, its
>soul. They are the spiritual voice of America.
>
>And that voice is sending a message out to the world: "NOBODY IS HOME. Go
>ahead and dump on us. There is no one here to mind; in fact, us nobodies
>welcome it."
>
>How long do you give a country whose leading art institutions project the
>self-abasement of hatred, of self-pity, of cynicism, and of the living-dead?
>
>America is embarking now on a moral crusade to eradicate the evil of
>terrorism from the world. It is a sick irony of massive proportions that
>America, through its network of museums, dealers, intelligentsia, and
>funding, is the world's leading exponent of postmodern art. And that is a
>very big chink in her armor. The symbol for this aspect of her culture and
>equally well for the terrorists is the bloody formless waste that was the
>World Trade Center and its people. A symbolic and literal marking of the
>decline of a civilization. But this does not have to be. It is imperative
>that Americans do three things to repair the damage wrought on her by the
>terrorists and the postmodernists:
>
>
>* Make in clear to the postmodernist that their nihilism is not wanted. You
>do not have to be an expert in art to tell the director of a museum that you
>are disgusted by their exhibitions. It won't go by them unnoticed.
>* Support the arts that give you the experience that you are glad and
>thankful to be alive –works you can point out with pride.
>* And build a new Wonder of the World.
>
>
>
>
>+ une dans la gueule, and two for tea !
>-> post: [email protected]
>-> questions: [email protected]
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php
>

you're correct eryk, it is (scaldingly brilliant) satire. I posted the art=
icle without knowing the whole story beforehand.

it was made by this group of artists - http://www.16beavergroup.org/radioac=
tive/

apparently it has caused a bit of a stir, for what I hope are obvious reaso=
ns (one being, the subject matter hitting way too close to home)

anyway, I'm going back to the studio to continue work on my newest series a=
bout flags and eagles

- andrew



—– Original Message —–
From: Eryk Salvaggio
To: andrew childs ; [email protected]
Sent: Thursday, September 19, 2002 8:15 PM
Subject: Re: RHIZOME_RAW: "HSCB" deeming postmodernism as a terrorist act=
against the U.S.




This website is pretty brilliant satire, I'm thinking, and it may even be=
run by someone with satirical intent who is collecting contributions from =
sincere individuals, which is even more amazing. I hope this is true, becau=
se if it is, it is one of the most succesful sites of this type that I've s=
een. The only evidence that I could find is this:


"The terrorist attacks mean the United States should re-examine its cultu=
re. I see, out of this sadness and grief, an opportunity for America to re-=
examine our culture, to re-examine how we view our oil interests, whether i=
t be in our own neighborhood or around the world. We have to take advantage=
of the third world countries, today more than ever."
- George Bush on Culture and the Terrorist Attacks


I don't think any site would put that on their front page, although I can=
be pretty surprised by right-wing websites in general. It also seems to su=
pport poetic terrorism and make a distinction between poetic terrorism and =
"cultural sabotauge"- so maybe it's meant to subversively inform the right =
wing of a healthy respect for some forms of "subversive" art? It's run by T=
om Paine Republicans maybe? Even if this organization isn't a joke; it's st=
ill hilarious. The TIPS network for artists to report fellow artists whose =
artwork doesn't present America the way it deserves to be presented? Amazin=
g….

-e.

I used to engage in some cultural subversion within the Warsaw Pact countri=
es.
Whatever undermines dictatorshit is a net benefit to global cultural manife=
stations.
POETRY IS POETENCY
—– Original Message —–
From: Eryk Salvaggio
To: andrew childs ; [email protected]

This website is pretty brilliant satire, I'm thinking, and it may even be=
run by someone with satirical intent who is collecting contributions from =
sincere individuals, which is even more amazing. I hope this is true, becau=
se if it is, it is one of the most succesful sites of this type that I've s=
een. The only evidence that I could find is this:


"The terrorist attacks mean the United States should re-examine its cultu=
re. I see, out of this sadness and grief, an opportunity for America to re-=
examine our culture, to re-examine how we view our oil interests, whether i=
t be in our own neighborhood or around the world. We have to take advantage=
of the third world countries, today more than ever."
- George Bush on Culture and the Terrorist Attacks

I don't think any site would put that on their front page, although I can=
be pretty surprised by right-wing websites in general. It also seems to su=
pport poetic terrorism and make a distinction between poetic terrorism and =
"cultural sabotauge"- so maybe it's meant to subversively inform the right =
wing of a healthy respect for some forms of "subversive" art? It's run by T=
om Paine Republicans maybe? Even if this organization isn't a joke; it's st=
ill hilarious. The TIPS network for artists to report fellow artists whose =
artwork doesn't present America the way it deserves to be presented? Amazin=
g….

-e.








andrew childs wrote:

this is from the "Homeland Security Cultural Bureau"so-disturbing-it-can't-=
be-legitimate website - http://www.hscb.org- andrew=========
==========================
=======http://hscb.org/res-story-postmodernterror.htmThe Terr=
orists and the Postmodernistsby Debbie SchmidtA Wonder of the World. Gone.T=
o witness the obliteration of those glowing, lithe twins was a shock beyond=
comprehension. They were so playful; light danced on them as they stretched=
up towards the sky. They were so free; you could not say that they stoodtal=
l with pride because they were so unselfconscious of their beauty andheight=
. They were so innocent; they believed in friendship, progress,creation, an=
d joy. They were.There are people in the world who can't
stand to see that beauty andcreativity exist. The guy who took a hatchet to=
the Pieta of Michelangelo.The Taliban leader who chose to blow up the Budd=
hist cliff sculptures.On the other side of humanity, a vast majority of peo=
ple felt universalshock. Waves of anger, sorrow, and sadness have followed.=
Though,personally, after I experienced the shock of the attack, I felt non=
e ofthose other emotions. Instead a quiet calm spread over me and I knew it=
wasa time for cold, calculating, and uncompromising action and thought. A =
timeto expose evil and put it in its place. And a time to stand up proudly =
anddefend the values of civilization against the onslaught of a species ofh=
uman beings that romanticize destruction.The definition of civilization, fo=
und in the American Heritage dictionary,is an eloquent statement:"An advanc=
ed state of intellectual, cultural, and material development inhuman societ=
y, marked by progress
in the arts and sciences, the extensiveuse of writing, and the appearance o=
f complex political and socialinstitutions."Every civilization has had artw=
orks, including buildings, that representthat country's values. A unique as=
pect of art is that it represents thepurpose of what one lives for. It repr=
esents the "point" of life. In asimilar way, the art in major art instituti=
ons represent the soul of aculture or civilization.The World Trade Center h=
as been that kind of symbol for us and I can thinkof no greater statement o=
f civilization at its height.Apparently neither could the mastermind of the=
terrorists' attack.Terrorism, as I understand it, is based on destruction =
and murder, usingshock tactics and unconventional means that result in a po=
pulaceexperiencing mass fear, anxiety, or apprehension. Though terrorists m=
ightstate lofty aims, it is generally recognized that they don't have thech=
aracter to cre
ate anything other than bring about destruction. And rarelywill you hear an=
yone claim that they destroy for the sake of destroying. Butif one looks at=
the results of terrorism one must conclude that their aim issimply to inje=
ct fear into their victims' state of mind. Fear is not thestuff that civili=
zation is made of.Now that the World Trade Center is gone, what is going to=
replace it? Idon't mean replace it only in the physical sense, but what is=
going toreplace it as a symbol of civilization at its best. There are repo=
rts that amonument and four skyscrapers of 50 to 60 floors will be built on=
the site.But that project has something hopelessly anemic about it. It sou=
nds prudentand safe and, absolutely, lacking in imagination. Of course the =
Empire StateBuilding stands, but what about finding something new from our =
art culture,some artwork to hold up proudly as a symbol worth creating and =
fighting for?Unfortunately, th
e great American skyscraper is the exception to the stateof serious art in =
contemporary western civilization. What dominates westerncivilization now i=
s postmodern art. Postmodern art is a completely uniquehistorical phenomeno=
n. Every other culture through the history of humanityhas proudly produced =
and honored painting, sculpture, architecture, music,and stories. But postm=
odern art, in theory and practice, is an anti-artmovement. It prides itself=
on the destruction of the above mentioned formsof art and on shocking its =
audience.It starts theoretically with Kant's Critique of Judgement, a treat=
ise onaesthetics. He elevates fear of experience and formlessness of means =
in hisconcepts of the Sublime and he condescendingly relegates form, theme,=
beauty, and sensory pleasure as elements of craftsmanship. It is an amazing=
piece of work. Imagine dismissing the principles that are the aestheticfoun=
dations of Michelangelo and Beetho
ven as crass and replacing them with aprinciple of nothingness–as a superi=
or aesthetic. Incredible.Louis Aragon, a Dadaist poet, rants, "No more pain=
ters, no more scribblers,no more musicians, no more sculptors, no more nati=
ons, an end at last to allthis stupidity, nothing left, nothing at all, not=
hing, nothing."Tristan Tzara, another Dadaist, states pathetically, " Art i=
s a privatething, the artist makes it for himself; a comprehensible work is=
the productof a journalist.We need works that are strong, straight, precis=
e, andforever beyond understanding."Neither of these statements is understa=
ndable in the ordinary sense ofcommunication between civilized people. But =
their stance is clear: they arefor the obliteration of the forms and compre=
hensibility of art. But thisattack is not limited to art. The obliteration =
of forms of humanunderstanding results in fear and will likely lead to a sn=
ap with realitythat wi
ll force the subject through a long descent into psychotic hell.At a recent=
exhibition at the New Museum of Contemporary Art in New York,one of the ex=
hibits was a photo documentation of Paul McCarthy smearing hisface and bear=
d with excrement and using his head as a brush to "paint" alarge white canv=
as. He is a professor of art at UCLA.Perhaps the best known and most widely=
and wildly academically acclaimedpostmodern artist is Marcel Duchamp. He p=
resented a urinal for an exhibitionin 1917 in New York. A copy of it is in =
the Philadelphia Museum of Art.Our society, unwisely, has swept postmodern =
art away from its consciousnessand, unfortunately, all real art with it. Th=
ey have hidden it, like theinsane uncle, mentioned only in whispers, tucked=
away in a sanatorium with aname like Village Heights. The whispers leave a=
hint in the air that if weacknowledge that our uncle is in fact crazy then=
somehow we will be equallyaffected.Notice how leading newspapers and inter=
net news sites sweep art under suchlight and effervescent categories as Sty=
le, Entertainment, Arts & Leisure,as if putting art under pleasant headings=
will change the nature of it. Myguess is that because of the disgusting or=
utterly puzzling content ofpostmodern art the news media feels more comfor=
table relegating it andconsequently all art to a less than serious status. =
Imagine listing politicsunder Gatherings, or economics under Business & Pla=
y.But serious art and postmodern art are not the amusements of the masses a=
ndthey are not accessories to life. Art is to culture what the soul is to a=
human being. If you try to ignore your soul, stuff it under a rug, or dress=
it up, it will rebel. A culture's art, like your soul, will not bedressed-u=
p or repressed; if you do not respect its nature it will prick yourconfiden=
ce, disrupt your peace, or, possibly, sabotage y
our virtues and makeyou wish you never existed.Ignored as it may be, postmo=
dern art, America's crazy uncle, is not in asanatorium. Postmodern art rule=
s the art institutions of westerncivilization. Its aesthetics are the crite=
ria guiding curators and directorsof contemporary art museums. It is the on=
ly aesthetic taught to upper levelstudents in the major art schools around =
the world. It is the criteria usedby the most influential art critics. It i=
s debated in nuances of comical andabsurd proportions by the scholarly comm=
unity. It is the baying of sheep.Unless, of course, the sheep know what the=
y are baying about. If theyunderstand the point of postmodern aesthetics th=
en they know that they arepromoting anti-art. Which means that they are act=
ively promoting the demiseof civilization's art forms as well as Western ar=
t. Western art–Aeschylus,Michelangelo, Beethoven, and Yamasaki–represents=
the soul of the greatestcivil
ization in humankind's history and postmodernists want to replace itwith wh=
at? With the cynical spirit of Marcel Duchamp's toilet?Ominously, the postm=
odernists are as clever as bin Laden or whoever is themastermind of the rec=
ent attack on civilization. Postmodernists haveinfiltrated our civilization=
's greatest art institutions. And they have doneit with our naive blessin=
gs. They now represent America's art culture, itssoul. They are the spiritu=
al voice of America.And that voice is sending a message out to the world: "=
NOBODY IS HOME. Goahead and dump on us. There is no one here to mind; in fa=
ct, us nobodieswelcome it."How long do you give a country whose leading art=
institutions project theself-abasement of hatred, of self-pity, of cynicis=
m, and of the living-dead?America is embarking now on a moral crusade to er=
adicate the evil ofterrorism from the world. It is a sick irony of massive =
proportions thatAmerica, through its network of museums, dealers, intellige=
ntsia, andfunding, is the world's leading exponent of postmodern art. And t=
hat is avery big chink in her armor. The symbol for this aspect of her cult=
ure andequally well for the terrorists is the bloody formless waste that wa=
s theWorld Trade Center and its people. A symbolic and literal marking of t=
hedecline of a civilization. But this does not have to be. It is imperative=
that Americans do three things to repair the damage wrought on her by thete=
rrorists and the postmodernists:* Make in clear to the postmodernist that t=
heir nihilism is not wanted. Youdo not have to be an expert in art to tell =
the director of a museum that youare disgusted by their exhibitions. It won=
't go by them unnoticed.* Support the arts that give you the experience tha=
t you are glad andthankful to be alive –works you can point out with pride=
.* And build a new Wonder of the World.+ une dans la gueule, and two for te=
a !-> post: [email protected]> questions: [email protected]> subscribe/unsu=
bscribe: http://rhizome.org/preferences/subscribe.rhiz-> give: http://rhizo=
me.org/support+Subscribers to Rhizome are subject to the terms set out in t=
heMembership Agreement available online at http://rhizome.org/info/29.php

>From: "Wally Keeler" <[email protected]>
>
>I used to engage in some cultural subversion within the Warsaw Pact
>countries.
>Whatever undermines dictatorshit is a net benefit to global cultural
>manifestations.

Oh, I thought Karei said that the worst thing in the world is to ever work
against dictatorship, it's worse than jerking off into your own mouth and
having a fried self-scrotum sandwich for afters–and is the prime cause of
war to boot.

Karei is really a Divine doggy doo a-hole. 100 geniuses in the world.
Friggin' freak deathsmell question-begger dogwater dick salad sandwich.

Hey, that's how Cartman saved the world and Canadians T&P ain't it? Wowie
zowie, slanted and enchanted, ice baby I saw your girlfriend.

>POETRY IS POETENCY
> —– Original Message —–
> From: Eryk Salvaggio
> To: andrew childs ; [email protected]
>
> This website is pretty brilliant satire, I'm thinking, and it may even
>be run by someone with satirical intent who is collecting contributions
>from sincere individuals, which is even more amazing. I hope this is true,
>because if it is, it is one of the most succesful sites of this type that
>I've seen. The only evidence that I could find is this:
>
>
> "The terrorist attacks mean the United States should re-examine its
>culture. I see, out of this sadness and grief, an opportunity for America
>to re-examine our culture, to re-examine how we view our oil interests,
>whether it be in our own neighborhood or around the world. We have to take
>advantage of the third world countries, today more than ever."
> - George Bush on Culture and the Terrorist Attacks
>
> I don't think any site would put that on their front page, although I
>can be pretty surprised by right-wing websites in general. It also seems to
>support poetic terrorism and make a distinction between poetic terrorism
>and "cultural sabotauge"- so maybe it's meant to subversively inform the
>right wing of a healthy respect for some forms of "subversive" art? It's
>run by Tom Paine Republicans maybe? Even if this organization isn't a joke;
>it's still hilarious. The TIPS network for artists to report fellow artists
>whose artwork doesn't present America the way it deserves to be presented?
>Amazing….
>
> -e.
>
>
>
>
>
>
>
>
> andrew childs wrote:
>
>this is from the "Homeland Security Cultural
>Bureau"so-disturbing-it-can't-be-legitimate website - http://www.hscb.org-
>andrew========================================http://hscb.org/res-story-postmodernterror.htmThe
>Terrorists and the Postmodernistsby Debbie SchmidtA Wonder of the World.
>Gone.To witness the obliteration of those glowing, lithe twins was a shock
>beyondcomprehension. They were so playful; light danced on them as they
>stretchedup towards the sky. They were so free; you could not say that they
>stoodtall with pride because they were so unselfconscious of their beauty
>andheight. They were so innocent; they believed in friendship,
>progress,creation, and joy. They were.There are people in the world who
>can't
>stand to see that beauty andcreativity exist. The guy who took a hatchet to
>the Pieta of Michelangelo.The Taliban leader who chose to blow up the
>Buddhist cliff sculptures.On the other side of humanity, a vast majority of
>people felt universalshock. Waves of anger, sorrow, and sadness have
>followed. Though,personally, after I experienced the shock of the attack, I
>felt none ofthose other emotions. Instead a quiet calm spread over me and I
>knew it wasa time for cold, calculating, and uncompromising action and
>thought. A timeto expose evil and put it in its place. And a time to stand
>up proudly anddefend the values of civilization against the onslaught of a
>species ofhuman beings that romanticize destruction.The definition of
>civilization, found in the American Heritage dictionary,is an eloquent
>statement:"An advanced state of intellectual, cultural, and material
>development inhuman society, marked by progress
>in the arts and sciences, the extensiveuse of writing, and the appearance
>of complex political and socialinstitutions."Every civilization has had
>artworks, including buildings, that representthat country's values. A
>unique aspect of art is that it represents thepurpose of what one lives
>for. It represents the "point" of life. In asimilar way, the art in major
>art institutions represent the soul of aculture or civilization.The World
>Trade Center has been that kind of symbol for us and I can thinkof no
>greater statement of civilization at its height.Apparently neither could
>the mastermind of the terrorists' attack.Terrorism, as I understand it, is
>based on destruction and murder, usingshock tactics and unconventional
>means that result in a populaceexperiencing mass fear, anxiety, or
>apprehension. Though terrorists mightstate lofty aims, it is generally
>recognized that they don't have thecharacter to cre
>ate anything other than bring about destruction. And rarelywill you hear
>anyone claim that they destroy for the sake of destroying. Butif one looks
>at the results of terrorism one must conclude that their aim issimply to
>inject fear into their victims' state of mind. Fear is not thestuff that
>civilization is made of.Now that the World Trade Center is gone, what is
>going to replace it? Idon't mean replace it only in the physical sense, but
>what is going toreplace it as a symbol of civilization at its best. There
>are reports that amonument and four skyscrapers of 50 to 60 floors will be
>built on the site.But that project has something hopelessly anemic about
>it. It sounds prudentand safe and, absolutely, lacking in imagination. Of
>course the Empire StateBuilding stands, but what about finding something
>new from our art culture,some artwork to hold up proudly as a symbol worth
>creating and fighting for?Unfortunately, th
>e great American skyscraper is the exception to the stateof serious art in
>contemporary western civilization. What dominates westerncivilization now
>is postmodern art. Postmodern art is a completely uniquehistorical
>phenomenon. Every other culture through the history of humanityhas proudly
>produced and honored painting, sculpture, architecture, music,and stories.
>But postmodern art, in theory and practice, is an anti-artmovement. It
>prides itself on the destruction of the above mentioned formsof art and on
>shocking its audience.It starts theoretically with Kant's Critique of
>Judgement, a treatise onaesthetics. He elevates fear of experience and
>formlessness of means in hisconcepts of the Sublime and he condescendingly
>relegates form, theme,beauty, and sensory pleasure as elements of
>craftsmanship. It is an amazingpiece of work. Imagine dismissing the
>principles that are the aestheticfoundations of Michelangelo and Beetho
>ven as crass and replacing them with aprinciple of nothingness–as a
>superior aesthetic. Incredible.Louis Aragon, a Dadaist poet, rants, "No
>more painters, no more scribblers,no more musicians, no more sculptors, no
>more nations, an end at last to allthis stupidity, nothing left, nothing at
>all, nothing, nothing."Tristan Tzara, another Dadaist, states pathetically,
>" Art is a privatething, the artist makes it for himself; a comprehensible
>work is the productof a journalist.We need works that are strong, straight,
>precise, andforever beyond understanding."Neither of these statements is
>understandable in the ordinary sense ofcommunication between civilized
>people. But their stance is clear: they arefor the obliteration of the
>forms and comprehensibility of art. But thisattack is not limited to art.
>The obliteration of forms of humanunderstanding results in fear and will
>likely lead to a snap with realitythat wi
>ll force the subject through a long descent into psychotic hell.At a recent
>exhibition at the New Museum of Contemporary Art in New York,one of the
>exhibits was a photo documentation of Paul McCarthy smearing hisface and
>beard with excrement and using his head as a brush to "paint" alarge white
>canvas. He is a professor of art at UCLA.Perhaps the best known and most
>widely and wildly academically acclaimedpostmodern artist is Marcel
>Duchamp. He presented a urinal for an exhibitionin 1917 in New York. A copy
>of it is in the Philadelphia Museum of Art.Our society, unwisely, has swept
>postmodern art away from its consciousnessand, unfortunately, all real art
>with it. They have hidden it, like theinsane uncle, mentioned only in
>whispers, tucked away in a sanatorium with aname like Village Heights. The
>whispers leave a hint in the air that if weacknowledge that our uncle is in
>fact crazy then somehow we will be equallyaffected.Notice how leading
>newspapers and internet news sites sweep art under suchlight and
>effervescent categories as Style, Entertainment, Arts & Leisure,as if
>putting art under pleasant headings will change the nature of it. Myguess
>is that because of the disgusting or utterly puzzling content ofpostmodern
>art the news media feels more comfortable relegating it andconsequently all
>art to a less than serious status. Imagine listing politicsunder
>Gatherings, or economics under Business & Play.But serious art and
>postmodern art are not the amusements of the masses andthey are not
>accessories to life. Art is to culture what the soul is to ahuman being. If
>you try to ignore your soul, stuff it under a rug, or dressit up, it will
>rebel. A culture's art, like your soul, will not bedressed-up or repressed;
>if you do not respect its nature it will prick yourconfidence, disrupt your
>peace, or, possibly, sabotage y
>our virtues and makeyou wish you never existed.Ignored as it may be,
>postmodern art, America's crazy uncle, is not in asanatorium. Postmodern
>art rules the art institutions of westerncivilization. Its aesthetics are
>the criteria guiding curators and directorsof contemporary art museums. It
>is the only aesthetic taught to upper levelstudents in the major art
>schools around the world. It is the criteria usedby the most influential
>art critics. It is debated in nuances of comical andabsurd proportions by
>the scholarly community. It is the baying of sheep.Unless, of course, the
>sheep know what they are baying about. If theyunderstand the point of
>postmodern aesthetics then they know that they arepromoting anti-art. Which
>means that they are actively promoting the demiseof civilization's art
>forms as well as Western art. Western art–Aeschylus,Michelangelo,
>Beethoven, and Yamasaki–represents the soul of the greatestcivil
>ization in humankind's history and postmodernists want to replace itwith
>what? With the cynical spirit of Marcel Duchamp's toilet?Ominously, the
>postmodernists are as clever as bin Laden or whoever is themastermind of
>the recent attack on civilization. Postmodernists haveinfiltrated our
>civilization's greatest art institutions. And they have doneit with our
>naive blessings. They now represent America's art culture, itssoul. They
>are the spiritual voice of America.And that voice is sending a message out
>to the world: "NOBODY IS HOME. Goahead and dump on us. There is no one here
>to mind; in fact, us nobodieswelcome it."How long do you give a country
>whose leading art institutions project theself-abasement of hatred, of
>self-pity, of cynicism, and of the living-dead?America is embarking now on
>a moral crusade to eradicate the evil ofterrorism from the world. It is a
>sick irony of massive proportions thatAmerica, through its network of
>museums, dealers, intelligentsia, andfunding, is the world's leading
>exponent of postmodern art. And that is avery big chink in her armor. The
>symbol for this aspect of her culture andequally well for the terrorists is
>the bloody formless waste that was theWorld Trade Center and its people. A
>symbolic and literal marking of thedecline of a civilization. But this does
>not have to be. It is imperativethat Americans do three things to repair
>the damage wrought on her by theterrorists and the postmodernists:* Make in
>clear to the postmodernist that their nihilism is not wanted. Youdo not
>have to be an expert in art to tell the director of a museum that youare
>disgusted by their exhibitions. It won't go by them unnoticed.* Support the
>arts that give you the experience that you are glad andthankful to be alive
>–works you can point out with pride.* And build a new Wonder of the
>World.+ une dans la gueule, and two for tea !-> post: [email protected]>
>questions: [email protected]> subscribe/unsubscribe:
>http://rhizome.org/preferences/subscribe.rhiz-> give:
>http://rhizome.org/support+Subscribers to Rhizome are subject to the terms
>set out in theMembership Agreement available online at
>http://rhizome.org/info/29.php
>
>




_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com

On Thu, 19 Sep 2002, Max Herman wrote:

> Oh, I thought Karei said that the worst thing in the world is to ever work
> against dictatorship, it's worse than jerking off into your own mouth and
> having a fried self-scrotum sandwich for afters–and is the prime cause of
> war to boot.

Never said or wrote that Max. Your activities are little but poorly
understood slander.

> Karei is really a Divine doggy doo a-hole. 100 geniuses in the world.
> Friggin' freak deathsmell question-begger dogwater dick salad sandwich.

I have never had any fascination with the genius concept–
don't ascribe your pathological brain-obsessions to me.

You truly are an empty house full of bats, Max.

http://www.cnn.com/2002/WORLD/europe/09/18/relations.ap/index.html


— Eryk Salvaggio <[email protected]> wrote:
>
>
> This website is pretty brilliant satire, I'm
> thinking, and it may even
> be run by someone with satirical intent who is
> collecting contributions
> from sincere individuals, which is even more
> amazing. I hope this is
> true, because if it is, it is one of the most
> succesful sites of this
> type that I've seen. The only evidence that I could
> find is this:
>
> "The terrorist attacks mean the United States should
> re-examine its
> culture. I see, out of this sadness and grief, an
> opportunity for
> America to re-examine our culture, to re-examine how
> we view our oil
> interests, whether it be in our own neighborhood or
> around the world. We
> have to take advantage of the third world countries,
> today more than ever."
> - George Bush on Culture and the Terrorist Attacks
>
>
> I don't think any site would put that on their front
> page, although I
> can be pretty surprised by right-wing websites in
> general. It also seems
> to support poetic terrorism and make a distinction
> between poetic
> terrorism and "cultural sabotauge"- so maybe it's
> meant to subversively
> inform the right wing of a healthy respect for some
> forms of
> "subversive" art? It's run by Tom Paine Republicans
> maybe? Even if this
> organization isn't a joke; it's still hilarious. The
> TIPS network for
> artists to report fellow artists whose artwork
> doesn't present America
> the way it deserves to be presented? Amazing….
>
> -e.
>
>
>
>
>
>
>
>
> andrew childs wrote:
>
> >this is from the "Homeland Security Cultural
> Bureau"
> >so-disturbing-it-can't-be-legitimate website -
> http://www.hscb.org
> >
> >- andrew
> >
> >
> >========================================
> >
> >
> >http://hscb.org/res-story-postmodernterror.htm
> >
> >The Terrorists and the Postmodernists
> >by Debbie Schmidt
> >
> >A Wonder of the World. Gone.
> >
> >To witness the obliteration of those glowing, lithe
> twins was a shock beyond
> >comprehension. They were so playful; light danced
> on them as they stretched
> >up towards the sky. They were so free; you could
> not say that they stood
> >tall with pride because they were so
> unselfconscious of their beauty and
> >height. They were so innocent; they believed in
> friendship, progress,
> >creation, and joy. They were.
> >
> >There are people in the world who can't stand to
> see that beauty and
> >creativity exist. The guy who took a hatchet to the
> Pieta of Michelangelo.
> >The Taliban leader who chose to blow up the
> Buddhist cliff sculptures.
> >
> >On the other side of humanity, a vast majority of
> people felt universal
> >shock. Waves of anger, sorrow, and sadness have
> followed. Though,
> >personally, after I experienced the shock of the
> attack, I felt none of
> >those other emotions. Instead a quiet calm spread
> over me and I knew it was
> >a time for cold, calculating, and uncompromising
> action and thought. A time
> >to expose evil and put it in its place. And a time
> to stand up proudly and
> >defend the values of civilization against the
> onslaught of a species of
> >human beings that romanticize destruction.
> >
> >The definition of civilization, found in the
> American Heritage dictionary,
> >is an eloquent statement:
> >
> >"An advanced state of intellectual, cultural, and
> material development in
> >human society, marked by progress in the arts and
> sciences, the extensive
> >use of writing, and the appearance of complex
> political and social
> >institutions."
> >
> >Every civilization has had artworks, including
> buildings, that represent
> >that country's values. A unique aspect of art is
> that it represents the
> >purpose of what one lives for. It represents the
> "point" of life. In a
> >similar way, the art in major art institutions
> represent the soul of a
> >culture or civilization.
> >
> >The World Trade Center has been that kind of symbol
> for us and I can think
> >of no greater statement of civilization at its
> height.
> >
> >Apparently neither could the mastermind of the
> terrorists' attack.
> >
> >Terrorism, as I understand it, is based on
> destruction and murder, using
> >shock tactics and unconventional means that result
> in a populace
> >experiencing mass fear, anxiety, or apprehension.
> Though terrorists might
> >state lofty aims, it is generally recognized that
> they don't have the
> >character to create anything other than bring about
> destruction. And rarely
> >will you hear anyone claim that they destroy for
> the sake of destroying. But
> >if one looks at the results of terrorism one must
> conclude that their aim is
> >simply to inject fear into their victims' state of
> mind. Fear is not the
> >stuff that civilization is made of.
> >
> >Now that the World Trade Center is gone, what is
> going to replace it? I
> >don't mean replace it only in the physical sense,
> but what is going to
> >replace it as a symbol of civilization at its best.
> There are reports that a
> >monument and four skyscrapers of 50 to 60 floors
> will be built on the site.
> >But that project has something hopelessly anemic
> about it. It sounds prudent
> >and safe and, absolutely, lacking in imagination.
> Of course the Empire State
> >Building stands, but what about finding something
> new from our art culture,
> >some artwork to hold up proudly as a symbol worth
> creating and fighting for?
> >
> >Unfortunately, the great American skyscraper is the
> exception to the state
> >of serious art in contemporary western
> civilization. What dominates western
> >civilization now is postmodern art. Postmodern art
> is a completely unique
> >historical phenomenon. Every other culture through
> the history of humanity
> >has proudly produced and honored painting,
> sculpture, architecture, music,
> >and stories. But postmodern art, in theory and
> practice, is an anti-art
> >movement. It prides itself on the destruction of
> the above mentioned forms
> >of art and on shocking its audience.
> >
> >It starts theoretically with Kant's Critique of
> Judgement, a treatise on
> >aesthetics. He elevates fear of experience and
> formlessness of means in his
> >concepts of the Sublime and he condescendingly
> relegates form, theme,
> >beauty, and sensory pleasure as elements of
> craftsmanship. It is an amazing
> >piece of work. Imagine dismissing the principles
> that are the aesthetic
> >foundations of Michelangelo and Beethoven as crass
> and replacing them with a
>
=== message truncated ===


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