The Gate is Open
In the interruption of work If not also in work There’s a righteous
anger An anger between their laughs
How practice makes of movement another moment How by their movements
We open the curtains and we see the light They are
images of ourselves Their bodies and their utterances a splayed A
cacography of labored moments or of opposition
How we have not yet suffered Yet How
For the great consummation that awaits us
There is no speaking here not undertaken in defiance Why can’t we
worship like that? There is in the noise that is internal that is to
utterance and to the particular thing just this remonstrance Just that this
book is on the table Just that the two in their turn each in their
turn are our cries and murmurs numerous simultaneous Each
interchangeable Y’all, I’m cashing out to no-one and to everyone
Watch how we go from ice to water
Each thinking by turns to see (to) the other
I got hung up on that today
To enter into conversation is to answer another’s appeal To enter into
conversation in somehow the language of another Is another’s
imperative Why don’t we open the gates? How If you died today
To death and to others who die Put it this way I’d want to clean
my apartment real good How in the noise that is internal Yet How
The words of another would enjoin to attention Put it this way We
are interchangeable to no-one and to everyone This practice of
Sum Over Histories
Artworks are like abstract labor, very post-Fordist-traditional, which was first invented and found in the history of the replacement of nature and the world by abstraction in “The Advanced Capitalism Period.” This is to be taken as a signal of the liquidation of reserve armies of labor.
Artwork now is a collective work. Its material is abstract labor. People now launch artworks to convey to eventuality the allegory of the endlessly renewed pursuance of actuality. Words might be written by people themselves or paintings made to particularly specify the singularity under conditions of post-post-Fordism of works of art.
Networks, swarms, aggregates, critical genealogies, and even sublime breaches of the market and gatherings of assumption and deconstruction of the world as it is found are the best occasion for launching artworks as syllabaries of potentiality.
Artworks are now doubly your ambassadors of potentiality. It is even more magnificent if you launch hundreds at the same time. In recent years artworks are much more likely to be adopted by the autonomous resistance groups as a perfect supplement to their struggles as well.
For Realism-fueled artworks you need only open them directly for showing reality in its abstraction by its abstraction. For Ideal-Typical-fueled artworks, please carefully taxonomize binaries from the package. It is very thin and light, their sense of a conceivable catharsis and the certainty of its inconceivability. Any harder steps might lead to the failure of this collective and productive abstraction to find itself as a subject.
Write your poetics that proposes within society and within the city class struggle and liberation on the artwork with pens before lighting. There is no need for this step if it is already construed as a syllabary of the demiurgic endowment of labor.
Construct the artwork as a figure of collective liberation. Lift it up a bit to refuse capitalist domination. Unfold the attached new Realism-fuel and bear witness to an era of despair. Make sure it recognizes commonality to better glimpse new subjectivities and new fields of action.
Next hold up the democratic and productive mechanism of art to ensure it is sufficiently abstract and constructive and light each corner of the fuel.
Lastly, turn to hold the artwork’s valorization of mass labor when it is fully filled with the enjoyment of freedom. It starts to be lighter and a bit up-lifting while in the meantime you softly act as an intermediary between collective action and the event of liberation.
Now it is the time to construct new being and new significations.
Seek the Real in a dry area to avoid reification. Keep abstraction nearby when launching. Be sure to overcome the market and postmodernism simultaneously with a wind under grade 3. Ensure launch in spacious areas, places with the singularity of artworks.
Do not launch within 5 kilometers of mediation or interchangeability and army-prohibited areas.
Release the artworks immediately when they uplift. Do not hold them too long. Be sure to reveal thereby the fundamental human nature of the world.
Labor is not liberated if without artistic labor’s instruction. Artistic labor itself is not liberated without immersion in the diagram.
Suggested areas for launching: machinic assemblages, class struggle, the collective force of labor, the ground of being, and outskirts without trees.
Sources: Antonio Negri, Art and Multitude | Found instructions for the release of a sky lantern