What we see now, is essentially what has been in place since before most of those marching on the street were born. If it were not so, there would not be this rolling-over-on-it’s- belly full-out effort to normalize the nightmare. They were already fascists. We already lived in an Empire of Money and Death that deserved to be overthrown.
Some of us told you. Not that it affords any comfort or satisfaction. If we can’t turn this around; if we can’t prevent what is sure to happen, there really isn’t any reason to live. Death is by far the greater mercy.
Author: wjacobr
Deleuze & Guattari: Culture of Death / Culture of Capital
Capital as the Body of Death
The Dark Forest: Literature, Philosophy, and Digital Arts
Desiring machines make us an organism; but at the very heart of this production, the body suffers from being organized in this way, from not having some other sort of organization, or no organization at all.
– Gilles Deleuze/Fritz Guattari, Anti-Oedipus
There comes a moment in their great work Anti-Oedipus (for that is what we must call this black book of riddles) when D&G – in an almost gnostic litany of negativity from one of the drifting echoes of Artaud’s process of ‘Unmaking / Unnaming’ (“No mouth. No tongue. No teeth. No larynx. No esophagus. No belly. No anus”) expose the body of death to the onslaught of expressive delineation: “The automata stop dead and set free the unorganized mass they once served to articulate.(8) It’s as if the nanobots of our own late era had already infiltrated the discourse of this early dreamwork, as if the viral memes of our late capitalism…
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After the rage…

I finally got a couple hours of sleep.
The rage has dissolved into tears, and the tears into grim resolve. It’s time to wipe the tears, to do what must be done… and then… to laugh, a laughter sadder than tears.
It’s not only at the beginning of the day, one must ask, why go on? but before every undertaking. There is nothing any longer that is trivial. Everything, everything–is life or death.
Do I bother to draw water to drink? Do I prepare food to break the fast? This pen, and these brushes? Is there any reason to pick them up, to make marks on this paper?
How many times I’ve wondered–what was it like, in Germany, 1933?
I think about the people who voted for … I will not write that name, or let it pass my lips… the ‘good Germans’
I will not be a ‘Good German.’ I will not be a ‘Good German.’
No more, the prattle of the ‘realists.’ No more talk of following those who ‘get things done.’ There is no longer any reality worth living, but that we take up and create for ourselves.
Love, Solidarity, Imagination…RESISTANCE!
The only serious philosophical question…
#607
12″ x 9″ Ink, watercolor. Scraps of Arches cold press watercolor paper on # 234 Borden & Riley paper


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#8 An early assemblage “Carnival”
Ontology as a schema of observation
To say that a person or a class or people is oppressed by society is too simplistic. If we think of society as the totality of human beings, plus maybe institutions like schools, churches, and businesses created by human beings, we are using individual/society distinction, rather than thinking of society as global communication. In the traditional view, the individual is understood as the irreducible unit of society. Society is the whole and individual people are the parts. The individual then is understood as alienated from society, oppressed by society, indoctrinated by society, struggling for liberation from society, an integral member of society, or placed in some other relation to society.
But these are all observations. So the question becomes, What observer observes the individual as X? What observer observes the individual as alienated, oppressed, seeking liberation, or in some other relation to society?
We might say that a critical theory, religion, or…
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changes — Sharon Lyn
Be prepared to let the old version of your life pass away into the new life now being born. — Maryam Hasnaa (@thatgirlhas) November 3, 2016
#606
Paint over of #254 (see below). 57″ x 28″ Acrylic on Masonite and cardboard.


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#605
7.5″ x 9″ Fibrous scraps, ink, water color.


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