Re: [Syndicate] FW: Results of your commands (WORDS)

[furtherfield <info@furtherfield.org>]

Stuart's such a snob...

> Dear K?roly T?th,
> 
>> Dear Whatever List is this,
>> The moderation of the list ex-Syndicate has already begun.
>> once upon a time  (1996), i was subscribed to an open mailing list. called
>> Syndicate.
>> 'THAT' LIST IS BRAIN DEATH.
> 
> Question is if there is will of the old subscribers or/and if a new
> generation wishes to reconquere the public space called Syndicate. Are
> East-West art related contacts irrelevant? Do we withness and invasion or an
> abandon?
> 
> 
>> see this!!:
>> i wanted to know who is  left on the list.
>> i sent a mail command to the software to majordomo@anart.no to get a list
> of
>> subscribers.
>> it is forbidden. so far about "openness".
>> i could do the same with the list hosted from V2/Berlin.
>> see appendix 1&2 below.
> 
> Atle Barcley perfromed the moving of the list to anart.no at 27. August
> 2001. We have changed the mailing list manager. Majordomo was a nice
> technology five years ago. Now we use sympa (see:
> http://listes.cru.fr/sympa/). As administrators we thought that sympa is a
> nice non-commercial software which deserves to be supported by its own means
> by an art-related list. With the help of the new sofware we will be able to
> offer multiple choices to the subscribers: daily digest, weekly digest,
> filters. Subsribers hopefully will be able to perceive as many layers of the
> syndicate list communication as they wish. See also the discussions about
> smart.moderator and and bureau automatism. We downloaded the vaste
> documentation of the sympa and we are studying it. As soon as we find the
> information how to find the list of subscribers we will announce it. Hardly
> anyobody of the old subcribers have left.
> 
>> Dear moderators, maybe it is time that you just change the name of the list
>> to something like
> 
>> "Artsy Narcistic ASCII Sociopath's Coup"
>> or
>> "Ceyboard Cowboys"
>> or
>> "Bourgoise&Bourgois&Bros."
>> D&D (Destructive Distracters)
>> "Artsy Narcistic ASCII Sociopath's Coup"
>> or
>> "Ceyboard Cowboys"
>> or
>> "Bourgoise&Bourgois&Bros."
>> D&D (Destructive Distracters)
>> ASCII art
> 
> ASCII art and communication guerilla is from the beginning part of the
> tradition of this list. See below the message of (one of the prominent ASCII
> artists) Vuk Kosic from 1996, or please browse the archives.
> 
> 
>> I agree with Raivo Kelomees who wrote:
> <CITATE>
>> I vote for "syndicate" or ... let's make final meeting of Syndicate
>> where
>> list/initiative will be "officially" closed with possibility to discuss
>> face to
>> face what is "happening" not only on list but between "East" and "West".
> </CITATE>
> 
> 
> I also agree with Raivo Kelomees. I propose a small meeting at Ars
> Electronica. I don't know how many people will be able to come without
> financial support...
> 
> greetings,
> Anna Balint
> 
> Vuk Cosic (vuk@kud-fp.si)
> Sun, 18 Aug 1996 19:25:13 CET
> 
> 
> Just stumbled on this while checking mwatz.....
> the same Luther Blisset project was involved in an other fake book
> by Blisset (double boomerang) earlier this year. More about it at
> http://www.dsnet.it/qwerg/blissett/bliss0.htm
> under "nasty trick".
> This Bologna Blisset thing is very interesting,
> they publish a "Luther Blisset - global magazine for psychological
> warfare" (3 volumes so far), and have issued two authentic books -
> Mind Invaders (Castelvecchi) and Toto, Peppino e la guerra
> Psichologica (forgot the editor), both in italian.
> Below you can find an email account
> that might put you in touch with these nice people.
> 
> vuk cosic
> 
> ///////////// forwarded message follows //////////////////////
> 
> X-POP3-Rcpt: X-POP3-Rcpt: marius@lima
> Date: Fri, 16 Aug 1996 14:27:45 +0200
> From: Luther Blissett <nav0243@iperbole.bologna.it>
> Reply-To:nav0243@iperbole.bologna.it
> Organization: Transmaniacon
> MIME-Version:1.0
> To: marius@hok.no
> Subject: Hakim Bey X-URL:
> http://www.hok.no/marius/bey/
> 
> Hello, I noticed you're concerned with Hakim Bey. The attached file
> should be of some interest to you. Bye.
> 
> WHY I WROTE A FAKE HAKIM BEY BOOK
> AND HOW I CHEATED THE CONFORMISTS OF ITALIAN "COUNTERCULTURE"
> 
> 
> by Luther Blissett
> 
> 
> 
> A. The wonders of creation
> 
> 
> ...In order to get on and improve the relations between the masses and
> the leaders, we must keep the valve of self-criticism open, we must
> enable the soviet men to scold their leaders and criticize their
> failures, so that the leaders do not become presumptuous and the
> masses do not leave the leaders. Josif Stalin, 1923
> 
> 
> Since last April all good Italian bookshops are selling A Ruota Libera
> - Miseria del lettore di TAZ [more or less: "Loose from all restraint
> - On the poverty of the TAZ readership"], a collection of pieces by
> Hakim Bey published by Castelvecchi (Rome). Multitudes of fans of that
> notorious guru of 1990's counterculture bought the book (which has
> quickly sold out). The left-wing press reviewed it enthusiastically.
> Concurrent publishers have gone off their nuts and charged the
> publisher and the editor/translator (the mysterious Fabrizio P.
> Belletati - born in Caserta 1969, now living in Nottingham, UK) with
> "uncorrectness" for having copyrighted "texts freely circulating on
> the Net". None realized that A Ruota Libera is apocryphal, nay, no
> more euphemisms!, it is FAKE. "Fabrizio P. Belletati" doesn't exist.
> I, Luther Blissett, wrote A Ruota Libera. It is not a mere parody of
> Beyan writings, rather, it's been a way of testing how gullible and
> tardy is the average buyer and/or reviewer of cyber-crap, and how
> believable is the output of an overestimated "santon" whose anal
> orifice, just as anybody's butthole, spouts ordinary shit instead of
> gold.
> 
> A Ruota Libera includes:
> --- A preface by "Belletati". ('This book is a selection of articles
> and essays by Hakim Bey, written during the period 1993-95, previously
> untranslated into Italian [...] Why have I "invented" for the Italian
> market a book that does not yet exist in the USA? Maybe I had to wait
> for the author himself to improve and collect his writings, didn't I?
> As always, the reason is one of the several "Italian" anomalies, i.e.
> the surprising untimeliness of Bey's critical success in Italy [...]
> Shortly before, during and immediately after the publication of
> TAZ...Hakim Bey was actually without interlocutors: the reviews of his
> major theoretical work were marked by an uproarious "greed for
> novelties" and a passive admiration of Bey's syncretic acrobatics. The
> main result was a depressing banalization of his positions, which in
> many ways were mistaken for those "cyber-gnostic" ideas which Bey
> explicitly detests. Bey appears to be the first person to complain
> about these foolishly new-agey or pseudo-cyberpunk interpretations
> [...] Luckily enough, this trend has recently been inverted. An
> useful, indeed indispensable critique of Bey's theories is revealing
> itself and retro-acting on his latest texts [... quick overview of the
> things written by John Zerzan, the Neoist Alliance, the London
> Psychogeographical Association and the Berlin-based magazine Super!
> Bierfront...] Apparently, this is only the beginning: Hakim Bey is no
> longer so awfully trendy, he isn't deemed as an untouchable santon any
> longer. This doesn't mean that his bias on the countercultural debate
> is going to end; rather, the understanding of his next pieces will be
> easier than before, also thanks to the rudiments of "immediatist
> self-criticism" which he is inserting. And as to Italy? Here is
> necessary to bring the debate up-to-date, because we're still facing
> the long rambling speech on the TAZs: "Geez, this party really seems
> to be a TAZ!", "Hey, won't you come down at the TAZ in the squatted
> centre?"...That's why I decided to publish these texts...which provide
> us with a complete picture of Bey's theories, here and now, without
> enervating and useless waits.') --- A few lark-mirrors, i.e. true and
> "serious" (as well as questionable) Bey's texts: "PAZ", "Media Creed
> For The Fin De Siecle", "Primitives & Extropians"; --- Some true,
> ludicrous Bey's texts - shameful bullshit, newagey nonsense: "Evil
> Eye", "Moorish Weather Report". --- Some interesting (as well as
> questionable) apocrypha, things that Bey would write if his ideas were
> clear enough: a) "Fart Strike", in which "Bey" suddenly changes his
> (banally pro-situationist) position on art and the Art Strike 1990-93;
> b) "Albigensis Postscript", actually "A Conspectus On The Evolution Of
> Cyberspace", a text by the London Psychogeographical Association, with
> such ludicrous inserts as a reference to one Lee Mortais (which sounds
> like "Li Morte'!!!" [...your deads!], i.e. a Roman insult meaning
> "[Fuck] the souls of your dead parents!") as well as a mega-stupid
> final roller-coaster ride; c) "On The Poverty Of The TAZ Readership",
> which does not break the promise of its title. Since I imitated the
> style of Italian translations of Bey's writings, any translation
> "back" into English would betray the text. It's a pity. Anyway, the
> piece is a radical critique of Bey's fans. --- apocryphal crap,
> indifferently swallowed by the readers, which proves that the "new
> underground" conformist posers would believe anything: a) "An
> Immediatist Self-criticism" (actually a 1926 Stalin's speech, which I
> had slightly altered without softening its arrogant, authoritative
> tone); b) An appendix to "Evil Eye" entitled "Toccarsi le palle"
> [Touching One's Own Balls], which I couldn't comment without getting
> sick of my own laughters! c) "Outdated Media", i.e. a hasty critique
> to the Internet which culminates in a ludicrous yearning for the good
> old smoke signals and carrier-pigeons; --- A real piece by John
> Zerzan, 'Hakim Bey, Postmodern "Anarchist"'. In one word, a crapbook.
> 
> I parodized Bey's style (which is one part Hippy bullshit and cheap
> oriental trinkets, one part post-Structuralism and pithily
> intricacies, one part cyber-crap), forced its ambiguity, made use of
> any banal rethoric expedient. I also stuffed the texts with fake
> translator's notes (pointing out various untranslatable puns) and
> persian and arabian words. At last, I created "Fabrizio P. Belletati",
> who sent all the stuff to Castelvecchi. Castelvecchi deemed the texts
> as "extremely disputable, but worth publishing" (not too bad if Luther
> cheated even one of his/her publishers and spokesmen: not even Gerry
> Adams knew that the IRA was going to explode the Canary Wharf bomb!).
> As an ultimate hoax, I copyrighted the texts - Italian "translations"
> of unexisting anti-copyright English texts. Eventually the book has
> been published and positively reviewed, the prank was successful. As a
> side effect, the entire operation raised panic in the "underground"
> scene.
> 
> 
> 
> B. It's the press, baby!
> 
> 
> A "white radical" is three parts bullshit and one part hesitation. Up
> Against The Wall Motherfucker, 1968
> 
> 
> The left-wing press welcomed A Ruota Libera with fanfares and
> flourishing trumpets. On Friday, April 26th B.V. (Benedetto Vecchi)
> reviewed the book on "Il Manifesto" (whose heading contains the phrase
> "communist newspaper") and published several excerpts from "Media
> Creed For The Fin de Siecle". Here is the end of B.V.'s masterpiece,
> which was entitled: 'Hakim Bey: Self-consciousness of the
> "underground" scene' : "...This Bey's book published by Castelvecchi
> replies to fans and detractors. Bey's provocations are the right way
> to take a different look at this 'too-late-Capitalism', which is how
> he describes the post-modern age. A book worth devouring, thanks also
> to Belletati's introduction, which describes in details what happens
> to that jovial Sufi master". A few weeks later, Angelo Quattrocchi
> fell in the pseudo-Bey ambush. Quattrocchi [his surname means "4
> eyes"] is a boring old guy who can't help yearning for May '68, and
> boasts of having taken supper with Guy Debord (as if this was a
> honour). This dotard wrote some useless anti-media pamphlets such as
> Come e perche' difendersi dalla televisione [How And Why We Defend
> Ourselves From TV] (1988) and Dai...Stacca la spina! [Come On, Take
> The Plug Off!] (1996); he's proud of not having a TV set, a fax or an
> Internet access, and yet this disinformed moron writes articles on
> "counterculture" on "Liberazione", the organ of the PRC [Re-founded
> Communist Party, that is a powerful trotsko-stalinist monster]. On May
> 29th, Quattrocchi wrote this meaningless and ungrammatical review:
> 
> SONS OF SITUATIONISM DEMOLISH EACH OTHER Hakim Bey, "A Ruota Libera",
> Castelvecchi, lire 14.000 Hakim Bey, Sufi master or bastard nephew of
> Vaneigem, the father of Situationism, is still a lovely
> theoretician-antitheoretician of libertarian radicalism thought and
> lived in this age. TAZ was published in Italian by Shake in 1993, then
> they published "Via Radio: Saggi sull'Immediatismo" [Radio
> Sermonettes/Immediatism]. Now another collection of Bey's writings, A
> Ruota Libera, is out thanks to quick and multi-coloured Castelvecchi.
> O, it's a funny, brilliant, delicious book, though there are some
> style drops! As to radical thought, it takes us on the same time wave
> of the US, which is where Bey writes, and Germany, where Bey is as
> famous as in Italy. The book has an incredible appendix, a 3-page
> mycrocosm in which John Zorzan [sic], another brilliant writer of the
> same school, demolishes our Bey by describing him as perfect
> mega-trendy blah-blah poseur, a sort of post-modern anarchist. Zorzan
> [sic] has published for Nautilus another lovely text, "Apprezzare il
> tempo" [Time And Its Discontents]. Who's right? Zorzan [sic] or Hakim
> Bey? Both. They both foam with a critical intelligence that leaves all
> the other "libertarians" amidst the ruins of an ideological wall which
> they haven't yet removed. Zorzan [sic] and Bey are both bastard sons
> of gran pere Vaneigem, the Situationist philosopher whose
> "Treatise..." throws light on this fin de siecle since 1968. This end
> of the century sees anarchy and utopia rising again from the ashes of
> ideologies. They [Bey and Zorzan] talk about temporary autonomous
> zones, that is a conquest of space (squats) and time (raves? Altered
> states of consciousness?), which subjectivities want to take over.
> This is the only weapon left against the omnipotence and omnipresence
> of capital, it is worth reading and living. Again, ce n'est qu'un
> debut.
> 
> A storm of turd. It's piteous to see how a life without TV can reduce
> an educated man. Vaneigem is NOT "the father of Situationism": the
> Situationist International was founded in 1957, Vaneigem joined it in
> 1961 and left it in 1970, two years before its official dissolution.
> Likewise, the Traita du savoir vivre _ l'usage des jeunes generations
> was NOT published in 1968, but in 1966. Actually "Zorzan"'s surname is
> Zerzan, and the Italian title of Time And Its Discontents is Ammazzare
> il tempo [Killing Time], not "Apprezzare il tempo" [Appreciating
> Time]. Again, Zerzan is not "of the same school" of Bey: the former is
> one of the "primitivists" which Bey charges with absolutism. Zerzan
> DOESN'T talk about temporary autonomous zones, and anyone who says
> that they both are right is an obnubilated person. At best, Vecchi and
> Quattrocchi superficially read the book. At worst, they can't tell a
> libertarian discourse from a mere reactionary delirium. In the
> meanwhile, A Ruota Libera was cited on several zines and influenced
> the whole debeyte...Even professor Georges Lapassade, the prestigious
> anthropologist, was sighted waving a copy of the book during a
> conference!
> 
> Before I cover how the media reacted to the scam and some idiots in
> the radical scene freaked out, I want to state that this prank doesn't
> need a "political" concluding postscript. This operation was an
> attempt to forge the passage between theory and practice. There are
> too many charlatans all around, guys who try to sell miraculous
> remedies for the "crisis of the end of the millennium". Humanity will
> not be happy 'til the last "layc intellectual" will be hanged with the
> guts of the last hezbollah. What? I'm running the risk of making
> enemies? But what "me" are you talking about? The name of Luther
> Blissett may be adopted even to bash my face in, and anyone can use
> it. Humans understand themselves in the process of psychic warfare.
> Forwards to a world without poseurs!
> 
> 
> 
> C. Terror in the underground
> 
> 
> Let the throbbing flyers become impatient, we'll calmly bring them
> back to the ground, back at the humble level at which we ourselves may
> ascend. We are unsuitable to any heroism and prefer irony to lyricism.
> We feel forced to warn the most impetuous ones: don't play Phaeton!
> 
> Amadeo Bordiga, 1952
> 
> 
> 
> By chance, the A Ruota Libera prank clashed with other events pivoting
> on the circulation of Bey's books in Italy. Milan-based ShaKe
> Edizioni, often described as the "official" pushers of Bey's dope in
> the "bel paese", began indulging in the most trivial conspiracy
> paranoia. Therefore a light-hearted and playful prank has been
> perceived as a base assault. But my prank was not a character
> assassination of Gomma and Raf Valvola nor had it a "fratricidal"
> purpose. I don't believe in the stalinist pedagogics of "false
> friends", and what's more I don't imagine I can aim at such an easy
> target (just a few months ago I kicked the shit out of Mondadori, the
> most corporate of Italian publishers. Two weeks after the prank Iem
> describing, Ieve attacked the Bologna District Attorney, the local
> ecclesiastic authorities and a rightwing paper by a scam on Satanic
> cults and black masses). I don't intend to bear the blame of Gomma's
> behaviour: ShaKe did all they could to fall into ridicule. Is it my
> fault if I found out that the ShaKe edition of Radio Sermonettes (Via
> Radio, 1995) had been censored? They cut out a sentence against Che
> Guevara ("...that Rodolfo Valentino of red fascism") which is both in
> the original text and in the competing (i.e. better) edition by
> Salerno-based Edizioni Ripostes (Immediatismo, 1995). It appears that
> ShaKe didn't want to piss off the average leftist reader. When the
> matter came to light, ShaKe said that Bey had given them leave to cut
> out the passage. If this was true, the author would cut an extremely
> sorry figure, having complied with leftist moralism and created a
> gaudy discrepancy between the different versions - for abstract
> reasons of political time-serving. Is it my fault if those champions
> and "experts" of anti-copyright, as well as Bey himself, threatened to
> apply to the bourgeois legal system in order to prevent an
> "unauthorized" publication of Bey's Pirate Utopias by Ripostes? While
> they were attacking Castelvecchi and "Belletati" for having
> copyrighted free texts, they threatened Ugo Scoppetta Adelfio,
> Ripostes' translator of Pirate Utopias, and Alessandro Tesauro, the
> owner of that small publishing house. ShaKe used to say: "WE are in
> the 'Movement', THOSE PEOPLE aren't", which was fucking absurd: first
> of all, there's no such thing as a "movement" pedigree, nay, there's
> no such thing as a "movement"! Secondly, if it's a matter of "street
> credibility" (...and it isn't), Adelfio is a notorious anarchic
> prankster, friend of Canadian neoists like Gordon W., involved in the
> Luther Blissett project. Likewise, if one is really against copyright
> and the private property of ideas, he won't claim any "patent". O boy,
> I can't help fully exposing this storm in a teacup!
> 
> Summer 1995: Ripostes announced they were going to publish Adelfio's
> translation of Radio Sermonettes. According to some informers, ShaKe
> got pissed-off and hastily translate the same book. November 1995:
> bookstores got the two editions on the same day! Peter Lamborn Wilson
> a.k.a. Hakim Bey sent an undated fax to the Salernitan guys: "Dear Ugo
> & Romano (et alii), ...thanks for a marvellous job on Immediatism -
> It's very weird to me to be taken seriously! - I wish I could read the
> apparatus criticus..." I got a copy of this by Ugo. At the beginning
> of 1996, Gomma & Co. were told that Adelfio was translating Pirate
> Utopias as well. They contacted Wilson and urged him to intervene.
> Wilson sent another undated fax: "Dear Ugo...please communicate with
> ShaKe in Milan because they are also working on Pirate Utopias!!! Talk
> to Goma [sic] or Sid. I'm sorry this confusion arose. Maybe you can
> work together! Sid just started work on translating..." I got a copy
> of this by ShaKe. (They made a lot of stuff public in order to claim
> their exclusive "right"!) Anyway, at that moment, Ugo was aware that
> ShaKe had cut out a passage of the book, so he didn't want to
> cooperate with any of them. On April 24th, Wilson sent a fax to ShaKe:
> "Dear Sid & Goma [sic]...you can tell [Adelfio] - or anyone - that you
> are the only authorized translator and publisher of Pirate Utopias in
> Italy. Any other translation or edition is unauthorized & I will take
> legal steps to prevent its appearance or sale..." Consider that the
> text we're talking about is anti-copyright! After ShaKe received this,
> they forwarded it to Ripostes attaching a similar threat. At last,
> Adelfio sent a fax to Wilson: "Dear Peter... Our intents are not
> connected to copyright and we want to stigmatize the disquieting
> behaviour of neo-copyrightist paranoid Italian publishers. We don't
> want to start a merchandising war. Our intentions are clear, the cure
> for our version of Immediatism! demonstrates it. [The omission of your
> definition about Che Guevara] shows what they really are: red
> fascists, ther usual passe' expression of Italian leftist hegemonical
> cultural control disguised as alternative cyberpunk!...For this reason
> we did not want to cooperate with them...Are you a sponsor of the
> neo-copyright movement?". Wilson never replied. In plain words, Bey
> was ready to bring to court people whose only fault was having "taken
> him seriously" and put into practice all the 1990's idle talk on
> anti-copyright. Accidentally, they had found out Wilson's opportunism
> (stalinoid self-censorship - I hadn't gone so far! :))
> 
> Again, is it my fault if ShaKe didn't realize that A Ruota Libera was
> a fake? Those guys used to brag of their direct link with Hakim Bey or
> pontificate as if they knew the Internet like the back of their
> hands...And yet they didn't notice that "the original English versions
> of these texts, which circulated only via E-mail" (as "Belletati"
> wrote) simply DON'T EXIST! Why didn't they ask to the supposed author?
> Why didn't they search for the texts on Alta Vista, Yahoo and the
> likes? No, Sir, they only wanted to slander, calumniate, backbite
> Castelvecchi and Adelfio, insult "Belletati"... They FORCED me to con
> them, so I contacted Luther Blissett of the Nottingham
> Psychogeographical Unit (COM3FASSID@ntu.ac.uk) and proposed him to
> play "Belletati". He began to write and/or ring up Gomma, obnoxiously
> trying to tranquillize him, then insulting him. Gomma would wail over
> that behaviour, that's why everybody kept believing "Belletati" to be
> a real person ("Who the fuck is this Belletati? His letters are total
> crap! He's gotta be mad!"). Every complaint by Gomma became a further
> pound of shit thrown in the fan.
> 
> 
> 
> D. The scam exposed
> 
> 
> ...A little more like Italy where only drivers who sharpen their
> skills survive. Jello Biafra, 1987
> 
> 
> The previous three sections of the text you are reading are an English
> translation of the communique by which I revealed my scam in the
> second week of July 1996. I sent it via fax and snail-mail to as many
> zines as I could, then put it in digital form on many BBSs and mailing
> lists. I sent it to the press as well. Many
> "post-cyber-anarcho-situ-hippie-punk-bullshit" clap-trap leftist
> poseurs in the "alternative scene" freaked out, many more started
> laughing and haven't yet stopped! When the first article appeared on a
> national newspaper ("Una beffa a ruota libera", by Loredana Lipperini,
> on La Repubblica, 7/20/1996), some said that "the dirty linen of the
> movement shouldn't be washed in public" (which sounds like a sort of
> Mafia ideal). The most stupid victim of the prank, that is Angelo
> Quattrocchi, got totally out of control. Soaked in his lofty anti-tech
> dream, he was the only journalist who didn't bump into my communique.
> Someone passed on him a copy of Lipperini's article, which he got as
> the only gateway to my prank. Instead of taking the piece as a
> secondary source, he assumed that was an anti-communist scam by his
> colleague, indeed, a vile provocation by "the bourgeois press", maybe
> favoured by Luther's verbal incontinence. On Wednesday, July 24th
> "Liberazione" published an ultramoronic article by Quattrocchi
> [entitled "C'e' Stalin in un testo underground e allora 'La
> Repubblica' gode" = "La Repubblica is excited in finding Stalin in an
> underground text"]. Geez! Quattrocchi wrote that A Ruota Libera was
> not fake and attacked both Lipperini (whom he also mispelt as
> "Lipparini") and Blissett for "having craped in his nest" (uh?!)! On
> the following day, Lipperini replied and demolished Quattrocchi:
> "[...] Everyone approved at the prank on Mondadori. Should everyone
> take offence now that Luther has given a blow to counterculture? This
> is an unpleasant signal [...]". Two days later, "Il Manifesto"
> published a whole-page article on the prank by Alberto Piccinini
> [entitled: "La beffa e le miserie di Lee Mortais" = The prank and the
> poverty of Lee Mortais], which exposed the whole matter of censorship,
> anti-copyright, conformism etc. The article contained this passage:
> "[this prank] is a further proof of Luther Blissett's fascinating and
> admirable capability of keeping his "fifth columns" [i.e. spies] in
> the media". Many "representatives" of the Italian "radical scene" said
> that my prank was "beneficial", at least "useful" in order to destroy
> "some putrescent mechanicisms of myth-making and literary criticism"
> (S. Dazieri). On August 9th, during an interview on the public radio,
> Bifo criticized some aspects of the prank but added that "Blissett's
> operation is extraordinary". As to ShaKe, they reacted bearing a deep
> grudge against "me". Gomma was sighted in a Milan social centre
> yelling: "I think I know who had a hand in this! I'll smash their
> faces in!". Well, "we" can physically humiliate him at any moment.
> Choose your seconds and come tomorrow at 5 o'clock behind the
> graveyard. I've chosen (and already used) the weapon: your touchiness.
> 
> 
> Luther Blissett, August 1996
> 
> 
> 
> 
> 
> 
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> information and archive: http://anart.no/~syndicate
> to post to the Syndicate list: <syndicate@anart.no>
> no commercial use of the texts without permission
> 



-----Syndicate mailinglist-----------------------
Syndicate network for media culture and media art
information and archive: http://anart.no/~syndicate
to post to the Syndicate list: <syndicate@anart.no>
no commercial use of the texts without permission