BACKJUMPS, THE LIVE ISSUE #2, BERLIN

Postby d'invluensko » September 8th, 2005, 6:09 pm

c'mon you guys. don't be to hippyshit and non-committed. streetart freedom /no rules blabla.
everywhere you do anything, there are codes you relate to and stick to - you can reject them, attack them, spit on them, divert them, paint on them, but you can not simply ignor them.
about that other thing -that you can do whatever you feel like. It not that simple -if you fuck with somebody's property -gouvernmental, private or otherwise you should have a fuckin good reason to do so. If not you're just a dumb ignorent kid. Formulated in another way: how do you explain it to the cop, parent, teacher, spiritual guru, your girlfriend or yourself what you just did on that door, window, wall, lamppost, (..or gallerywall)?
ofcourse with Urban art you also know the rules of the game. You tag on this wall and not on that -you stick your thing next to this but not over that. Only 'cool' caracters, antiglobalist logo's or funky slogans "look mom, i'm a terrorist".

I don't want to fuck you up, but really there is no 'freedom' as such. Only the freedom you conquer in a certain defined space. (if you disagrea, please tell me why all those copypaste-caracters look the fucking same all the time, in every city i come? ..even in places like maleisia of jakarta they now do exactly the same-old-londonpolice-great-for-kids-kind-of stuff as overhere in europe -size:10x7cm)

so, if their is no such thing as freedom, but the game is only the search for it, what is than the gamefield we are playing in? the urban landscape that is. so and if all players are looking their freedoms in those simular places all around the world (or internet) there are ofcourse certain simularities.. right?

so, it that would be the case (and i really believe so) you could speak from a certain 'group' of people -a generation if you want- with a simular way of looking at the cities they live in and the cultures they breath (ways of controle and consumerism etc. advertising, architecture, media )

but when we speak of a 'group' this implies something more limited and regulated than speaking of 'a Movement', which i think more correctly names this generation of people, inspired by graffiti, in attitude and style, and in search of innovation. a Movement that realises its potential in using the stinking smelly glossy street not only as a cheap excuse to make a buck, but also as motive in an effort to make a difference somehow.
Its all about awareness. What we do, and where we want to bring it to. The ideal -damn! Utopia even..
Don't know where but as i wrote somewhere before: its just a game, but there is nevertheless quite a lot at stake here. We should be aware of our play, our game, our battle.
The cities are changing rapidly -the prices of getting caught higher, more camera's, more cleaning etc. We should realise our potential as an army of individuals with the guts and joy of doing stuff illegal (who else does that nowadays?).

Doing exhibitions shows others -outside this way of looking- what this art is all about and why we do what we do. That's what a graffitiexhibition should show, or a streetart-exhibition.Why its important to do this and why its illegal or beautiful in our opinion. And fun.
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Postby g » September 8th, 2005, 8:55 pm

Hakim Bey wouldn't say better
( > Hakim Bey // TAZ // http://www.hermetic.com/bey/taz_cont.html // )

...
we talked a lot about artists, gallery, etc...
but a less about the public...

The public in today's big show such in Berlin is it the same than Graff Jam several years ago ? more hypy, arty but not as well brainy ?
i don't know this kind of event....but i just feel there's not a good place to met Art fans to debate of the situation ..
but 4 :pour: with no doubt
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Postby errorist » September 9th, 2005, 9:55 am

yes there are rules and and the real freedom dont exist but we can say that we have a little more freedom in expresing then others, right!

and dont take everything litteraly we are not some crazy utopia motherfu**es!

and for all copy-paste caracters if dont have any idea in it then its real bullshit...
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Postby g » September 9th, 2005, 10:13 am

errorist wrote:yes there are rules and and the real freedom dont exist but we can say that we have a little more freedom in expresing then others, right!

and dont take everything litteraly we are not some crazy utopia motherfu**es!

and for all copy-paste caracters if dont have any idea in it then its real bullshit...


:lol: i start from the beginning

Things to do today :

1.read ((everythings))
2.learn, ((try to) understand our History and then ourselves...))
3.display ((things and ideas than olders have live before you find " something "))

so a huge :evil: for you and not a sweet :eleph:
before " tirer sur l'ambulance " talk about something your red only
the titles of the subparties just " tourne ton clavier 7 fois sur la table avant de parler " in english SHUT UP !
that's not an utopia, that"s a ( i find ) clever analys of us

so

you have your idea ..so cool...
perhaps a lot of others have the same, more developped
and less autist than you with the others

so

Things to do today

1. read
2. etc....
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Postby d'invluensko » September 9th, 2005, 11:25 am

>and dont take everything litteraly we are not some crazy utopia >motherfu**es!
>
>and for all copy-paste caracters if dont have any idea in it then its real >bullshit...

well you should -that is the whole point.
and about that second thing, if you don't have an idea its real bullshit- i totally agrea.

havong some idea behind what you do is half the work, but only half. Having a clou on where you want to go to with that thing you put in the street and how you want others to see it and your city would be like -in ideal, Thats what i 'm talking about. Damn! i sound like a fucking therapist.

so goodluck, see what you can do with it. Practice a lot and lets see each other next week again, same time.
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Postby aeiou » September 9th, 2005, 12:10 pm

d'invluensko wrote:>
havong some idea behind what you do is half the work, but only half. Having a clou on where you want to go to with that thing you put in the street and how you want others to see it and your city would be like -in ideal, Thats what i 'm talking about. Damn! i sound like a fucking therapist.

so goodluck, see what you can do with it. Practice a lot and lets see each other next week again, same time.


I am very glad some people at certain moments had no clue what they were doing, and had even less an idea where what they were doing was going to. If you know too much you exclude randomness. True a lot of bad work can come out of it, but also the very few sparkles that truly push it forwards.
If you play the game by the rules wou will not make mistakes. But you will stay in mediocracy.
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Postby pash* » September 9th, 2005, 12:18 pm

the shit about freedom, of course that we are not talking about "do anything you ever wanted" .. . it's about beeing more free between borders we live packed in...

and about characters,, me personally i do mostly characters etc,, and i can say that i'm already bored by TLP,, yes,, they are real legend and the style is great,, , but after all years, , there is nothing new and there is nothing behind it, it is just another tag,, but maybe you will take a look at my work and feel the same, , what can i know?

the way i work is not to do anything really clear,, in that sence that as someone looks at my posters he can find his very own interpretation of what is the character and what is the "action" and symbols pictured in it,, but sometimes people see just an image showing some kind of rabbit and have fun of it and the only thing they say is that they love it and would like to have it home because they think that it's just empty illustration made bigger... but then i show it to a char woman passing around and she stops and talk for three minutes about budhism and energy in symbols pictured on that shitty paper and just tells what she feels from that, because it also have an emotion in it... so,, as i pain i know what is the message for me.. and i also know how i want to paint it and then i look for place, where i feel that it fits.,.
so as i respect working in streets more conceptuall way i still know that not all those quite similar characters are about shit and nice visual style.. . ;]

+ one offtopic... after really long time i watch ekosys forum every day,, because after long there is something to read what makes sense,,, so keeep on! !!
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Postby errorist » September 9th, 2005, 5:03 pm

G

sorry!

i just sad my point of view!!
and yes i read, learn but maybe i'am not so clever as you!


for freedom i tough about other artist,and for utopia i said that couse you misunderstud me, sorry again.
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Postby errorist » September 9th, 2005, 5:08 pm

..and all i said is that i dont like pure illustations whitout idea..

thats all.
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Postby aeiou » September 9th, 2005, 5:22 pm

errorist wrote:..and all i said is that i dont like pure illustations whitout idea..

thats all.


but then you don't like if sombody just writes his name?
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Postby g » September 9th, 2005, 5:23 pm

as john L. said : " Give :flowersmile: a chance ! "
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Postby pash* » September 9th, 2005, 5:35 pm

but there is this "tag" aspect in most of works in street art,, , you allways like to be recognizable,, to let people read that these things are work of one person,, so in basics,, you write your name... then you want to show up that you are better,, sou you make your style looks finer, , bigger etc,, , and so this simple thing is in characters very often also... sadly,, it just hapens, , character should be jus a logo, an icon exept letters telling name.., which is not enough when it is only about spreading name on the map,, but we all know, , that this is also fun,,, and everyone must find his way through experiments and play with his skills and ideas,, you can't start from nothing and do really cool job.. . {but it doesn't mean that it makes some shit work better, only because author is begginer. . :D:D}
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BURN BABY BURN (stak picture)

Postby dead street » September 9th, 2005, 6:12 pm

strange..
where could i see that before ?
mm... ah yes !
bloodbonus website flash intro.... when ? already two years ago, no ?
funny, i don't care. On dira, juste une coïncidence. No copyright !
Or 'just an illusion' (imagination 1982)

stak. you next plane/train will explode.
burn stak burn ! c pas mieux ? on en reparlera ensemble.

allez je décroche de ce magnifique forum. Good luck everybody.
I am out. Point.

but...
but...
but...
but...
street fartists ?
oups !


(ghost) lokiss.
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and..........

Postby dead street » September 9th, 2005, 6:15 pm

no, i am not really a teenager. Anymore.
I just use to fuck them.

oups ! (2)

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Postby errorist » September 9th, 2005, 7:14 pm

what's going on here? whats "decroche"?
will someone explane this!!
does it have a point? i dont get it. sorry again ( not so smart)




@g - we could all have a drink!! right:)





@ aeiou - i like to see it, but it wont affect me much ( whitout idea it's just a nice drawing )
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Postby aeiou » September 10th, 2005, 5:46 am

errorist wrote:@ aeiou - i like to see it, but it wont affect me much ( whitout idea it's just a nice drawing )


I quoted influenska on "idea" where one was going. Not on idea of work.
I like the craziest ideas. The crazier the better.
The point was on "the rules of the game". I agree that it is a game, but the rules that it has are just as much that there are no rules at all. If you follow the rules as he suggests, then I say that that somehow leads to mediocracy.


besides I love to search Influenza text to see if I can counter it with something. He is so selfconfident. hehe :D
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Wilfried Hou Je Bek / some thoughts about remaking language

Postby d'invluensko » September 11th, 2005, 9:19 am

right, one more post. the last 'cause what can be said was said and what was asked never will be answered /

this days exercise is a text by Wilfried Hou Je Bek, www.socialfiction.org
as part of the Backjumps-exhibition at Neurotitan, Berlin (with stak, honet, inkunstruction etc.). have fun reading:
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Postby d'invluensko » September 11th, 2005, 9:21 am

Graffiti and the Obelisk
For those Graffiti Writers who Care: Some Thoughts about Remaking Language.

Graffiti
One of the novelties of electronic text was that it transferred some of its hard coded properties to the interface: suddenly parameters like font type and font size were no longer fixed on a piece of paper but adjustable to individual taste. Many graffiti writers, I have noticed, point out as one of the reasons for doing it that adding three letters of your own can be enough to rewrite the urban script for that particular location. The purpose of each tag is to turn its writer from a spectator of architectonic form into a self professed creator of urban experience. When done properly, a tiny tag can attract more attention than the building it is written on.

Writing on things means claiming them as your own. This has direct consequences for the language used on buildings and monuments and on those overwriting these object illegally. Graffiti writers know this: because what they do is illegal but also because crossing someone's tags is considered a fundamental crime against the code of honour inside the scene.

Language is never just functional, it always communicates certain values and customs that are taken for granted and which have nothing to do with what words mean according to a dictionary or the way grammar dictates their use.

It is my conviction that graffiti, as it has evolved in the last 30 years or so, is not living up to its potential. Instead of aggressively reproducing its own internal code like a machine that has gone out of control and keeps banging its head into the same wall over and over again, the graffiti community should break out of its current deadlock. If graffiti would leave behind the world of custom, convention and fashion and entered a modus operandi in which graffiti was about language first it would be an entire different game and likely much more exiting. The current arsenal of styles, forms and images used by graffiti writers is a limited one. By opening up the frontiers of possibility, by incorporating models and thoughts from all ages, graffiti writers could be entering a field where there is much to discover. Their private graf language would no longer be marginalized and stereotyped by the conservative way things are supposed to be done. In order to achieve this graffiti would need to start communicating with people from outside the scene again, doing so in a smart way and on its own terms.

The Obelisk

Can you imagine the Chinese seizing the Statue of Liberty, dragging it all the way home to Shanghai and re-erect it there after wiping from it all reference to the USA?

Architectonic theft of similar Ozymandian calibre has been committed by a succession of Roman emperors (Augustus, Caligula). From the deep south of the Nile Delta the Romans took back with them the gigantic obelisks that still adorn Rome, removing the hieroglyphs to make them tell the Roman story only. After the Romans, the Christians. In the 16th century Pope Sixtus V got it in his head to once again overwrite the obelisk. What makes this history so relevant to graffiti is not just because it explains how language is being used to shift the symbolic meaning of an architectonic object, but the fact that Sixtus V had designed a special ornamental font-type to be used on it.

Language is magic stuff that needs to be consciously pushed into shape and form to ensure that it works exactly the way you want it to work. Sixtus V understood that it was not enough to overwrite the monument with ordinary letters because these are desecrated by vulgar use in the past. The unique alphabet signified that the obelisk had with its new possessor gained a new spiritual power. Partly overwriting other people's language and properties evokes anger, as we know it does, because it sends mixed messages in languages that clash.

Remaking Language

Futura2000 modified his signature when he changed his territory from the street to the art gallery. It is the right thing to do: different spaces, different area's, different surfaces, different audiences, different contexts, different interfaces, all demand a new language, a new style, a new mythology, a new centre of gravity, a new law of form.

Rammelzee, the inventor of the particular style in graffiti called Wild Style, proposed the CEREBREMIC NEUTRON HARPOON of IKONOKLAST PANZERISM. Moving beyond the egocentrism of zillion*time tagging your name, Rammelzee wanted to take graffiti forward by using it as a tactic in a larger project. By breaking down common linguistic conventions and by inventing new ones, he wanted to disrupt common and lazy modes of understanding through reading/writing. Reminiscent of the cut-up techniques developed by William S. Burrough and Brion Gyson in the early sixties, he wanted to snatch language from walls and books, tear them apart, dissect them, built new syntaxoscopic interfaces around them, to learn what they were really saying. Wild Style was the name for this brain frying / atom splitting communication theory at the intersection between signal, chaos and parasitic gaps.

Tell me the way you write and I tell you what you think and to what group you belong. In a time where everybody is obsessed by Islamic terrorism, reading in the reverse direction is socially suspect. Which is a good but negative example of othergraphy. Halfway the 19th century the Mormons designed the Deseret alphabet with the purpose to unite followers across vast distances: the alphabet as ghetto. The parallel with graffiti is obvious.

The English poet Robert Graves, in the late 1940ties, gave an example of Panzerist Wild Style avant la lettre. In his discussion of the Celtic Ogham script, which is all the more interesting from a Wild Style perspective because it is literally carved in 3 dimensions, each character represents a letter, a tree and a god, making it impossible to draw the line between ideogram and phoneme. The destruction of this script by invading societies was a form of mind control because Ogham mirrors the worldview, the mythology, of those who speak it. The implication is that carving out your own syntactical freespace can profoundly change the way you think. The link is reinforced by the obvious fact that language allows you to share this with others, making it all the more real. The construction of new languages and font-patterns could be one way for progression in graffiti.

But writing from left to right or from right to left are, in essence, equal dead weight to a mind filled with the typographical heresy of Wild Style. The first thing to do is to develop counter-strategies for ordering words and letters that expose and render helpless basic fundamentals of the way linguistic structure equals control. The goal is the absolute elastification of font and outline and the eradication off all typologic, the destruction of every rule of grammar and form. After having rid oneself of conventional read/write directions, the use of the A-Z alphabet, and its conventional sequence ABCDEFGHIJKLMNOPQRSTUVWXYZ, other aspects needs critical evaluation too.

What would happen if all graffiti writers overnight would write their name backwards? It is a cheap paperback cliché of occultism that reading the bible backwards will undo the universe while the devil supposedly can be heard by playing certain records backwards. It is enough to mention Babylon, that ancient dystopia of linguistic diversion, to remind you that messing with the structure of language has always been considered to be dangerous. It is the power of computers to generate all permutations that can made by combining according to different rules a certain range of tokens. It would not be hard to code a small software running on your pocket PC or Mobile phone that would tell you what combinations could be made with words you encounter while out on your game: the man-machine graffiti interface.

Rammelzee made it perfectly clear that graffiti should be an oppositional system of nothing less but knowledge. Or in his own words: "Knowledge knowledge knowledge, the elevation of Wild Style knowledge is concluded as a SYMBOL DESTROYER, ARMORED, MEDIEVAL MECHANISM.". He is not talking about academic knowledge but about the personal need to be curious about the world and incorporate all what fascinates you into the mix.

Talk to Me

There are essentially 3 options for dealing with what you don't understand: you can ignore it, you can destroy it or you can decipher it.

What annoyed the godlike Roman emperor in the Egyptian script on the Obelisk was that they could not read it: it suggested secrets, it suggested valuable information useless, it painstakingly reminded the most powerful man on earth of their limits and that hurts.

The language of graffiti is one of self sustaining code that prevents outsiders from entering the inner circle. Once outsiders learn to decipher the code it turns out there is nothing said at all. Graffiti operates as a strange attractor of public attention and media coverage. It is evident from this that code communicates, that glyphs and calligraphy and syllable glitches fascinate the kind of people who are open to new things: code as social filter for exactly the type of humanoids you want to communicate with. Based on the wrong hypothesis people like Athanasius Kircher (a true hero of Wild Type knowledge acquisition) thought to have deciphered the hieroglyphs only to be found out much later to actually have developed a brand new language by misinterpreting it.

An Interface is the point, area, or surface along which two substances or other qualitatively different things meet, the graffiti I am talking about here would be a hyperfluid medium of space-specific language of a kind nobody has seen before: it would be an interface between the city and its dwellers, between graffiti writer and public but also between public and his/her own creativity in finding pattern in code they don't understand.


Written and performed by Wilfried Hou Je Bek / Socialfiction.org
Spoken at P.S./neurotitan on 26 aug. 2005 and exhibition together with Stak, Honet, Influenza, Same-Inkunstruction
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Postby g » September 11th, 2005, 9:36 am

thanks for these lines...
who's ready to speak about the Babel Tower mythology now ? :eleph:
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Postby superfly » September 11th, 2005, 2:42 pm

easteric wrote:i do agree with influenza ... the goal (for me) is not to be active ,or prolific...is more to try to give a sense to every shit ...more than to entertain the people ....



I'm ok with that and i do agree with most of the things that have been said ealier (even when it is contradictory, because some days you may like deep and relevant work and sometimes you need action & fun)

What i just wanted to add: a stupid character or a picture without message can also be interesting. Because it brings life to a city. There is nothing more sad & scary than a city without tags. It is particularly true in a small city. Maybe when you live in London or NYC where there are new images everywhere & everytime you're in a different state of mind.
Just one example, Dave Warnke may have no message, but the 1st time i saw it brought a smile to my face.

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