Castello Malaspina, Fosdinovo, Italy, 2015

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The 4th edition of the Eternal Internet Brotherhood happened in the historic Malaspina Castle in northern Tuscany in July 2015. Powered by Castello in Movimento.


Andreas Angelidakis, artist/writer
Danai Anesiadou, artist
Soft Baroque, designers
Giuseppe Bartolini, architect
Peter Burleigh, linguist/writer
Barbara Casavecchia, writer
Michelangelo Corsaro, writer
Sophie Jung, artist
Matthew Lutz-Kinoy, artist
Lupo, muse
Flavio de Marco, artist/writer
Fabian Marti, artist
Ylva Ogland, artist
Zoe Paul, artist
Gianni Pettena, writer/architect
Robert Pettena, artist
Angelo Plessas, artist/organizer
Mary Margaret Rinebold, writer
Santiago Taccetti, artist
Priscilla Tea, artist




Castello Malaspina, Fosdinovo, Italy, 2015

The fourth Eternal Internet Brother/Sisterhood Promo

video editing: Frederik Exner Carstens


GOLDEN CARPET SESSIONS (scroll down for more)


Ylva Ogland (SE) is on the Golden Carpet, interviewed and invited for the 4th Eternal Internet Brother/Sisterhood, at Castello Malaspina, Fosdinovo, July 2015.


Angelo: What’s your alter ego?

Ylva: My alter ego is Snofrid. It means peacefull snow and she lives in the mirror world behind the Oracle, that is a mirror.

Angelo: Whats the oracle Snofrid for the Eternal Internet Brother/Sisterhood?

Ylva: I think the Oracle for the Eternal Internet Brother/Sisterhood is the Motherhood. Because of what we have done here, a ritual with Snofrid materialized inside the distillate of Athens, New York and Belgium (Ghent), with crashed rubies and stones from Parthenon, and mixed in a blend with Corrado’s breast milk, that comes from Maddalena, who is the mother of Castello Malaspina.

Angelo: What the Oracle would say about Castello Malaspina?

Ylva: The future is in the past



Gianni Pettena on the Golden Carpet, Eternal Internet Brother/Sisterhood 4



Barbara Casavecchia Golden Carpet

Golden questions to Barbara Casavecchia for #etinterbro4

AP: How do you think art will look like in 2050?

BC: No idea! Same same, but different? 🙂 On the other hand, i think that the way we look at art, or the reasons why we do it, will be quite similar in 2050, nevermind if images, sounds and forms in space will have a concrete or more immaterial body. Art can be a life saver, as well as a free space for thought and practice and knowledge, and i think it will keep on being so.

AP: What’s the most interesting thing about our era now?

One of the things that every era tries to do is to define itself as such, possibly to find a place in time. we came up with Anthropocene, lately. Recently, i’ve been re-reading many tetxs and poems by italian women artists from the Sixties, like Ketty La Rocca from Gruppo 70 in Florence, who were trying to come to terms with the new “technological language” of the society of spectacle, mass media and mass information. Fascinating. Maybe we are still witnessing the developments of what Dick Higgins called “intermedia” in 1966. Intermediatic empathy is what i find quite interesting, now. how about you?

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Portraits of Angelo, Corrado, Pietro and Maddalena,

Danai Anesiadou, sculptures from compressed personal objects from their rooms for Etinterbro4

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Fireworks Chair, Castello Malaspina, Eternal Internet Brother/Sisterhood 4



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The Rituals at Castello Malaspina, Ylva Ogland for #etinterbro

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To Conjure forth and Internalize Snöfrid into the systems of those present.

(On the occasion of the 4th Eternal Internet Brother/Sisterhood by Angelo Plessas)

The rituals were divided in three parts, in consecutive order.

Part one – The Act of Preparation at the Castello. Making of the Xenia masks for the initiated, and the table pictogram painting. Collecting symbolic items from the Castello to serve the rituals.

Part two – The Act of Conjuring Forth Snöfrid and of initiation with MC Angelo. Getting the blend of Snöfrid’s distillate and Corrado’s breast-milk internalized into the systems of bodies and souls of those present in the great hall at the Castello.

Part three РThe Act of Dining Sn̦frid. Materialized by Mirella (the cook) into this world, served on the red pictogram in the dining hall, and consumed by the initiated wearing Xenia masks.

* “Snöfrid” is an Old Norse name meaning Snow Peace. She is my mirror twin and lives behind the mirrors. Snöfrid has been materialized in various forms, i.e. as three life size marionette dolls, as a distillate made with different elements, such as crashed rubies, gold, amethyst, Pol Roger, etc., she has appeared in paintings, and as food.

** “Xenia” is one of my central subjects, and deals with serving based on Caravaggio’s painting “the basket of fruits”, which is related to ancient Roman and Hellenistic pictorial traditions mentioned in Historia Naturalis. The recurring motif in the Xenia paintings show heroine related objects, the actual drug in powder form, the poppy flower, the poppy seed capsule with or without cuttings, the syringe, the candle, the spoon.

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Texts by Barbara Casavecchia and Peter Burleigh found somewhere in the Castle

From chapter 23

On “Blocks Series Intensities” or getting lost in a castle or getting on in the internet

Digression #1:
A scroll, scrape or shred. A continuous roll of single-sided writing material: a simple plateau. Reading a scroll is a continuous singular event. You roll out you roll back in. There is no discontinuity, no block, no series, just one unit of continuous pendular rolling. Take the codex, the common form of the printed book. Now a codex generates discontinuities in the physical structuring of the content. You can jump from one point to another regardless of their position in the whole structure. In the codex, reading sequentially is merely a special case of discontinuity—that is, where discontinuity tends almost to zero (the pages must be turned). The facility of the codex to fast information retrieval oversaw its supersession of the codex within two centuries in 4th to 5th century Egypt. Where the scroll is a physical text, the codex is structural. Now, a third structuration appears hypertext— driven by algorithm. In its manner of reading, we find no discontinuity: a text rolls in front of us; yet every text is also intrinsically discontinuous with in-built, internalized lines of flight (possible deterritorializations), hyperlinks.

Digression #2:
A castle, a web of patterns and paths a place to get lost and ret(h)read history:

Digression #3:
“he thought he (K) remembered roughly whereabouts in the corridor the door was, and decided to try opening a door that in his opinion was probably the one he wanted. The venture couldn’t be too risky…he looked to right and left down the corridor again, to see whether, after all, anyone was coming who could give him information… but the long corridor was quiet and empty.”i In fact for P it is true that each block-segment has an opening or a door onto the line of the hallway—one that is usually quite far from the door or the opening of the following block—it is also true that all the blocks have back doors that are contiguous…It’s the same in two blocks on a continuous and unlimited line, with their doors far from each other, are revealed to have contiguous back doors that make the blocks themselves contiguous. And even here, we’re (D&G) simplifying things: the hallway can be angled, the little door can be connected to the line of the hallway, in such a way that things become all the more surprising. The line of the hallway, the unlimited straight line, can hold other surprises, since it can connect to a certain degree with the principle of the discontinuous circle and the tower (as in the Castle, which includes a tower as well as a group of small, contiguous buildings).”ii

Fosdinovo infectious stones: posturing, imposing, staged on a hilltop seen only from inside itself (having arrived at dusk). Inside, a circuit of meaning in the movements through around over its steps and polishes, losings and findings: voices, traces, perlocutions—where do you go, who do you find? Consequentially inconsequent: in the castle there is no going back spatially, there are only lines of confusion that in their density make tracks of sense, a creasing of footprints in hard stone and marble. But to retrace is redundant, so the castello despite its ancientness is an embodied experience of today’s algorithmic screenworld.

I sway (often) back to those days, before the viral world of internet, when we made sense by digging deep and then digging out, the same way we went in, or even the long way round. But in either case, we got back to the beginning by the way we went in or by its spatial or temporal equivalent around about. Not so now in the brotherhood’s milieu (I straddle both worlds, perhaps). In EIB there are two levels of informational architecture: actual real sets of passages, connections, thresholds crossovers—here the grey silver Macworld, underlinings, mousings, jumps and leaps; and also, facing that plane the virtual flows, fluxes and dynamics of a viral world. No sense in returning, only sense in looping round and around in continuously interrupted contiguities.

Like losing yourself in the castle of the bothersistermotherhood.

peter burleigh

i “chapter 23” Franz Kafka The Castle.
ii “Blocks, Series, Intensities” Gilles Deleuze & Felix Guattari Kafka: toward a minor literature.

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Non-smokers (s05e01-10), Santiago Taccetti, the Eternal Internet Brother/Sisterhood 4


Zoë Paul

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Suspended rock weavings, Zoë Paul, Castello Malaspina, the Eternal Internet Brotherhood 4 #etinterbro



Yodelling, Sophie Jung at Fosdinovo forest, Eternal Internet Brother/Sisterhood 4 #etinterbro

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Stoneroses, Santiago Taccetti/ Mirak Jamal , 2015, a demo at the forest of Fosdinovo, Eternal Internet Brotherhood 4


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The search, conversations & ideas

The question lies in visibility! She would go on to say.

There is the smell of green at one tucked slope, countered by the cursor at another incline. One may entice another.

It is potentially green anywhere, even where it doesn’t permit for growth. Man holds these credentials at the least.

A search calls for action…what are the footprints without the dirt and pebble; the scroll and stroll. A view from up above the clouds allows for better navigation, though the smell is far-reaching for any touch as such. Nevertheless, what a grand overview; block by block zones; the green pastures beneath…the city is everywhere.

How about over there.

Grounded here: it is potentially green. And the smell of the concrete curing permeates in the air…recalling the sort of gardens of childhoods. This surely is the comfort food of a collective outdoors.

No matter if the color underneath is fresh green, a checkered red-and-white, or a dubious smoky grey…

Let’s not settle just yet let’s roam.

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Phantasmagoria for an aesthetic machine
by Michelangelo Corsaro

lecture/presentation, duration 15-20 min., 4th Eternal Internet Brotherhood, Castello Malaspina, Fosdinovo, July, 2015


We chose to go crazy


One day the Bel-Shen’Toff came in to the King’s house, and he said: “My King, all the wheat in the fields has been blighted! All the grain that we harvested this year has been infected with a fungus that turns people crazy when they eat it.”
The King thought for a moment, then said, “Thats terrible. Truly terrible, but, If I’m going to be the King, and know how these people in my province are feeling… Shouldn’t I go crazy with them?”
His Seer looked confused, and spoke with fear, “But my King, we will go mad!!!”
The King but smiled, and spoke, “Yes, but you and I shall make a mark upon each other’s foreheads, so when we see each other later, we will know that we chose to go crazy, while everybody else, just is.”
(Ken Kesey, Twister, from Timothy Leary’s Last trip, 1997)

This little story, often told by Ken Kesey in his shows, refers to ergot, a fungus that infected wheat and drove people mad. For someone the mention of ergot might recall those outbreak of mass hysteria like the Strasbourg Dancing Plague of 1518 or the Salem witch trial, which led to the executions of twenty people, most of them women. In Ken Kesey’s shows it rather referred to the psychedelic counterculture of the 1960s, as ergot was in fact the chemical precursor that lead Albert Hoffman to the synthesis of LSD.

The story of a king who relinquishes his power to follow the lead of untamed states of mind also pertains to a tradition of narratives of role reversal and transgression. In ancient roman times behavioural license was celebrated during a festival called Saturnalia, a forerunner of modern carnivals that introduced the suspension of slavery, of all forms of justice, of work and social distinctions. In George Bataille’s studies on the notion of eroticism, the death of the king gives the signal to initiate a temporary transgression of taboos: during the critical period of decomposition of the king’s flash, transgression is as important as obedience was before, when a man “feared no longer to perform publically and unrestrainedly acts which hitherto he had only performed in private”. In the work of Mikhail Bakhtin the suspension of rules entailed by the notion of carnivalesque is described as “a continual shifting from top to bottom, from front to rear, of numerous parodies and travesties, humiliations, profanations, comic crownings and uncrownings” (Mikhail Bakhtin, Rabelais and His World, 1965). In the 1980s and the 1990s, Leigh Bowery’s masquerades were a similar attempt to confront conventions, celebrating monstrosity in spite of the stigma attached to homosexuality and AIDS. When the king goes mad it means that the times are ripe to swap the world of the rulers with that of criminals, prostitutes and buffoons.


…the CIA was like an unwitting midwife in the birth of the acid generation… (Marty Lee)

In 1953 the CIA started an experimentation on mental control devices for military purposes, this program was called MKUltra. “Between 1955 and 1958 research was initiated by the Army Chemical Corps to evaluate the potential for LSD as a chemical warfare incapacitating agent. In the course of this research, LSD was administered […] to ascertain the effects of the drug on their ability to function as soldiers.” In 1963 also the British Army started experimenting with, administering trips to soldiers in order to measure their abilities under the effect of hallucinogenics.



The drug was administered in a glass of water given at the start of each day’s exercise. Twenty-five minutes later the first effects of the drug became apparent. The men begun to relax and to giggle. But this man was more seriously affected and had to be removed from the exercise. After thirty-five minutes, one of the radio operators had become incapable of using his set, and the efficiency of the rocket launcher team was also very impaired. Ten minutes later, the attacking section had lost all sense of urgency. Notice the bunching and indecision as they enter a wood occupied by the enemy. Almost immediately, the section commander tried to use a map to find the location of troop headquarters, and a prisoner’s escort had to have the way pointed out to him, although it was in plain sight 700 yards away over open country. Fifty minutes after taking the drug, radio communication had become difficult, if not impossible. But the men are still capable of sustained physical effort; however, constructive action was still attempted by those retaining a sense of responsibility despite their physical symptoms. But one hour and ten minutes after taking the drug, with one man climbing a tree to feed the birds, the troop commander gave up, admitting that he could no longer control himself or his men. He himself then relapsed into laughter.
(A trial of an Incapacitating drug, 1964, Imperial War Museum, cat. n° MGH 4464)

While the military potential of LSD-25 continued being researched, when the patent of the compound expired in 1962, LSD started to gain widespread popularity. “In fiscal 1968, the production capacity of the clandestine laboratories seized was reported to be more than 40,000,000 doses per year.” (The Consumers Union Report on Licit and Illicit Drugs, by Edward M. Brecher and the Editors of Consumer Reports Magazine, 1972. As of 1/7/2015) By the end of the 1960s, thanks also to advocates like Aldous Huxley, Timothy Leary, and Ken Kesey, LSD and other psychedelics were regarded by many as substances that were able to expand human consciousness.

In his seminal book Expanded Cinema, published in 1970, Gene Youngblood argued that the art of the so-called ‘new media’ was taking a step towards the development of a new consciousness. “It is the belief of those who work in cybernetic art that the computer is the tool that someday will erase the division between what we feel and what we see.” (Gene Youngblood, Expanded Cinema, 1970) Youngblood believed that the computer would evolve into an aesthetic machine or, in other words, a means to achieve a new consciousness for a new cybernetic environment. One of the sources of Expanded Cinema with regards to these ideas was the work of A. Michael Noll, a very early pioneer in digital computer art, 3D animation and tactile communication. In an article titled The digital computer as a creative medium, published in 1967, Noll conjectured the invention of a psychedelic computer interfaced with artists’ psyche: “Although this might seem somewhat exotic […], the artist’s emotional state might conceivably be determined by computer processing of physical and electrical signals from the artist (for example, pulse rate and electrical activity of the brain). Then, by changing the artist’s environment through such external stimuli as sound, color, and visual patterns, the computer would seek to optimize the aesthetic effect of all these stimuli”. Further down Noll continued: “One is strongly tempted to describe these ideas as a consciousness-expanding experience in association with a psychedelic computer!” (A. Michael Noll, The digital computer as a creative medium, 1967).


Colonising mental spaces



October, 1989
VPL Research laboratories, San Francisco Bay Area

A man in a room is testing a virtual reality system, consisting of a head-mounted display and a computer interfaced glove. His gaze, directed somewhere on the wall, is lost inside the hardware of the computer that sits next to him. What he sees is replicated on a screen, directions are duplicated, disoriented. Objects occupy multiple positions. One reality is swapped with another. His hands speak an occult language, making things happen with incomprehensible gestures, speaking to invisible entities, pointing at void patches of space in the room. The posture of the man betrays utter unawareness of physical space, his attitude is that of a tripster wandering around a rave party. For the first time the human body is an outcast, the mind being sucked away by non-spatial realities made of electronic circuits. October 1989 San Francisco Bay Area, one month before the fall of the Berlin wall, thousands kilometres away. What could be the language for the politics of an electronic out-of-body experience? Is it true that freedom of movement might soon have the extension of psychological introspection? Will freedom of expression be just a matter of mental dexterity?


The octopus

One of the possibilities offered by virtual reality systems is that of morphing, that is to say to change at will the shape of the body of an avatar. In other words, imagine you could be an octopus, you could move eight tentacles, imagine you could change colour and guise, you could speak and you could display images on your body at the speed of thought. Imagine that when you get bored of being an octopus you could just morph into the shape of a lobster or of a bucket, for that matters. To explain the potential of morphing, Jaron Lanier, a VR researcher and founder of VPL Research, often refers to cephalopods.

As a researcher who studies virtual reality, I can tell you exactly what emotion floods through me when I watch cephalopods morph: jealousy.
The problem is that in order to morph in virtual reality, humans must design morph-ready avatars in laborious detail in advance. Our software tools are not yet flexible enough to enable us, in virtual reality, to improvise ourselves into different forms.
when it comes to visual communication, and other modalities such as smell and spontaneously enacted sculptural shapes that could be felt, we are hamstrung.
We can learn to draw and paint, or use computer graphics design software, but we cannot generate images at the speed with which we can imagine them.
Suppose we had the ability to morph at will, as fast as we can think. What sort of language might that make possible? Would it be the same old conversation, or would we be able to “say” new things to one another?
(Jaron Lanier, You are not a gadget, 2010)

Lanier’s interest in morphing is linked to the vision of a so called post symbolic communication. One of the envisioned possibilities offered by virtual reality would be to change the shape of our avatars, in order to communicate not anymore through symbols, words, and ideograms but by actually morphing our virtual alter-egos into what we want to communicate. These ideas about cephalopods were first formulated not by Lanier but by the psychedelic bard Terence McKenna, in an article published on the magazine Magical Blend after a visit to Lanier’s VPL Research labs.

I believe that the totemic image for the future is the octopus.This is because the cephalopods, the squids and octopi, have perfected a form of communication that is both psychedelic and telepathic, a model for the communications of the future. In the not-too-distant future, men and women may shed the monkey body to become virtual octopi swimming in a silicon sea. […] In the world of the octopus, to behold is to understand.
(Terence K. McKenna, Virtual reality and electronic highs, or: On becoming virtual octopi, in Magical Blend, 1990)

In a talk he delivered in 1992, Terence McKenna further elaborated on this concepts.

The importance of virtual reality, as I see it, is [that] it is a technology that will allow us to show each other our dreams. We will be able to build structures in the imagination that we cannot now share with each other. I imagine a world where children begin to build their virtual realities they are five, six, seven. By the time they are twenty these virtual realities might be, practically speaking, the size of Manhattan. Well, then what real intimacy will mean is saying to someone “Would you like to visit my world?” My world with my visions, my values, my dreams, my fears. In a sense, what virtual reality is, is a strategy to let us turn ourselves inside out. So that we see each other’s minds. You know octopi wear their minds on the outside of their bodies. Octopi communicate by changing colors and the smoothness of their bodies: they wear their meaning. We have an organ that we can do this with but it’s very limited: it’s called the face.

The research of a new consciousness, of both cybernauts and psychonauts, is the vision of unlimited understanding of reality, where inner and outer worlds blend together, where subjective perceptions and objective conditions are interchangeable notions. It exposes the will for an absolute capacity in the manipulation of symbols, a transgression of normative language which is at once the manipulation of a shared reality and of its multiple perceptions. It is a story of sentiments and visions of a world that is not just given to the human mind, but moulded by it. To the extent to which this story might speak of superior powers that aren’t available to us, it is a narrative of wizardry or, at least, of psychological alchemy.


Manipulating reality



The Wizard of Earthsea is a book written in 1968 by Ursula K. Le Guin, a radical science fiction and fantasy writer, quasi-anarchist, environmentalist, and taoist. It is one of the book that I most loved in my life. I read it over and over during my childhood, while listening countless times to Freddie Mercury’s songs, which in my mind I still associate with fairies, kings, queens, dragons, and magic. The Wizard of Earthsea is the story of a man called Ged, a dragonlord and Archmage, protagonist of many epic songs. The novel tells the story of his youth, in a world where magic is a form of natural speech: wizardry consists in the manipulation of language and sorcerers are those who know the true names of things and beings. In this world, the secret tongue of magic literally speaks the essence of objects, animals and humans. Magic is manipulating symbols, the juggling of the true names which shape and determine the innermost principles of reality. The psychedelic undertones of this language are exposed to the reader when Ged first encounters the Archmage Nemmerle and has with him a conversation through a non-symbolic psychological sensorium.

As their eyes met, a bird sang aloud in the branches of the tree. In that moment Ged understood the singing of the bird, and the language of the water falling in the basin of the fountain, and the shape of the clouds, and the beginning and end of the wind that stirred the leaves: it seemed to him that he himself was a word spoken by the sunlight.
Then that moment passed, and he and the world were as before, or almost as before.
The Archmage looked at Ged and looked away, and began to speak in a tongue that Ged did not understand, mumbling as will an old old man whose wits go wandering among the years and islands. Yet in among his mumbling there were words of what the bird had sung and what the water had said falling. He was not laying a spell and yet there was a power in his voice that moved Ged’s mind so that the boy was bewildered, and for an instant seemed to behold himself standing in a strange vast desert place alone among shadows. Yet all along he was in the sunlit court, hearing the fountain fall.
(Ursula K. Le Guin, The Wizard of Earthsea, 1968)





Travelling (preposition) plane, Sophie Jung for the Eternal Internet Brother/Sisterhood 4

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Series of writing workshops, Mary Margaret Rinebold, 2015, Castello Fosdinovo, the Eternal Internet Brother/Sisterhood 4



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ARCHITETTO PROFESSIONISTA: VAFFANCULO, Gianni Pettena, 2015, Castello Malaspina, the Eternal Internet Brother/Sisterhood 4 #etinterbro

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Il Cardinale, Robert Pettena, 2015, Castello Malaspina, the Eternal Internet Brother/Sisterhood 4


Poor little persecuted and tortured Aloisia, whose freedom loving spirit continues to haunt the Malaspina Fosdinovo castle.

She refused to bow down to the rules of the convent and become a nun, although her parents imprisoned her within its walls.

Aloisia clothes her passionate love that she refused to renounce in a cardinal’s red vestments, centuries after her family failed to redeem her

Someone has been moving about in the castle for a long time, talking playfully about the codes of conduct that constricted her,

as though to exorcise the shadowy memory of the unfortunate girl and to return to the so-called friendly network of “the eternal internet brotherhood.”

The coexistence of Institutional container and network content, of signifier and meaning, demonstrate that within real creative coexistence, the instruments and  technology of freedom and the rules/regulations that are imposed cancel each other out in a fraternal dialogue.

It’s an interesting thought, that a historical memory changes continuously as people attempt to reconstruct past events which are obscure and spiral away in the light of past generations. It’s difficult to share every individual experience, often as difficult and unpleasant as jumping off an initial cliff but, like giving birth, the result is often a pleasant surprise. For example the red blood of the bull fight becomes a barbarous sharing between spectator and spectacle.

How can we exorcise a terrifying yet exciting popular custom without cancelling the end result?

Perhaps by sharing something positive, in a safe, neutral environment, using external stimuli to bring about a new consciousness about life experience and past events.

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Una Linea, Priscilla Tea, 2015, Castello Fosdinovo, the Eternal Internet Brother/Sisterhood 4


The Eternal Internet Brother/Sisterhood


For a soul of serenity and creativity.
For a soul that will liberate our eternal “attached virtual device”: the unconscious.
New desires can surface. New pleasures can be posessed. New ideas can be projected.
Sometimes our souls are the tombs of our desires.
We live in a ruin of pleasure haunted by ghosts such as fear, boredom and suppression.
But One could begin to think about an another life, to live the “here” and “now”
and escape the nightmare of this spinning mental grinder.

For sometime now, the brothers have been programming
a format located in nature beyond machines and simulations.
This format is surrounded by a new reality that transitions
from an augmented chaos to an omnipresent supermind,
from a cybercentric narcissism to a hyper-lucid extropism,
from a techno-buraucratic lifestyle to a noospheric realness.

During this gathering we will all be provided the theme to become
nobility of a kingdom where a new architecture of emotions
will materialize in the forms of art, poetry and therapy.

We will navigate our souls from
the Dungeons of the subconscious to the Throne of the supraliminal.
Inferno will become Purgatory and Purgatory will become Paradiso.
We aspire to achieve a mental and aesthetic transformation.
We could acquire this state of meta-magic with the
fundamental psychic stages of eating, drinking and sleeping.

The site of this operation is the medieval Castle of Malaspina in Fosdinovo, Tuscany
where Dante Alighieri spent his exile. It will start the 6th of July 2015.

The password to enter this portal is: The Eternal Internet Brotherhood.

Angelo Plessas



Dead Sea, West Bank, 2014

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The 3rd edition of the Eternal Internet Brother/Sisterhood happened in the historic but conflicted area of the northern Dead Sea area in the West Bank in April 2014.


Alkistis Poulopoulou, GR (actress)
Anastasios Logothetis, SE (artist)
Andreas Angelidakis, GR/NO (architect, artist, writer)
Angelo Plessas, GR/IT (artist-organizer)
Che Zara Blomfield, NZ (curator)
Danai Anesiadou BE/GR (artist)
Elcin Pia Joyner, US/TR (artist)
Jean Kay, UK (writer)
Luca Pozzi, IT (artist)
Mai Ueda, JP (artist)
Meir Kordevani, IS (artist, publisher)
Mia Lundstrom, SE (urban planner- writer)
Mike Calvert, US (artist)
Miltos Manetas, GR/IT (artist)
Mirko de Lisi, IT (muse)
Priscilla Tea, IT (artist)
Vincent Charlebois, CA (artist)
and, IS-PS



The third Eternal Internet Brother/Sisterhood Promo used in crowdfunding platforms

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Danai Anesiadou


Golden #Etinterbro Question to artist Danai Anesiadou,  by Angelo Plessas

Angelo Plessas: Do you have an after-effect or after-thought after the Eternal Internet Brotherhood?

Danai Anesiadou: We either go in front of our computer we go to our computer and have a thought or two then we text go and have a coffee gossip a little. Buy groceries come back home and don’t feel like cooking. Smoke a cigarette think of our usual problems or if we don’t think we are having any go to the Internet read the guardian gather problems get frustrated perhaps. Then if we feel we are engaged we gather them frustrations and link them to our own frustrations go back to the studio eating a snickers merging with what material all conceptual work we had Lala Lala Lala. Go back home and take a shower make yourself beautiful like you are a female character in a Jane Austen novel go to the ball with the renewed and pumped up excitement that you will meet the Prince talk to the curator hope to be inspired by the work although you are not planning to be because you have been disappointed so many times before or if you’re having a weak solar plexus combined with introspection and the willingness to be good u secretly hope the show will suck because envy is not part of your vocabulary. the opening the opening might also be the biennial, you have been traveling  for many hours u feel so international did you pay the ticket yourself. You meet your friends and eat Thai food because there is no good Thai in Athens  and have the same conversation that art fairs are the new biennials and continue talking about game of thrones instead of the expo. Shock shock I’m shocked he punched his eyes through his skull and I was alone to watch it. Who are those people making game of thrones. I want to meet them. Art fairs are no places for artists but filled with artworks so who is making all those artworks. Humans going on the Internet ordering wood reading books reading online magazines going to the opening breaking up with their girlfriends eating sneakers on trains having meetings with galleries dreaming of doing things different, I want to be on the beach right now Or having a solo show Lala Lala Lala.
And then there is Angelos eternal Internet brotherhood or the red wedding of art which is absolutely non of the above.

Siri my loyal transcribster does not register commas and question marks only fullstops.


Andreas Angelidakis

Golden #Etinterbro Question to Andreas Angelidakis, artist/architect/writer, at the Ramot housing in E. Jerusalem, by Angelo Plessas


Angelo Plessas: Why you brought us here?

Andreas Angelidakis: This is a really important building, it’s Zvi Hecker’s Ramot housing and it’s important because first its one of the few examples of Metabolist architecture as it’s translated from Japan to Israel. Metabolist architecture was designed on an idea that buildings are organic and they grow and evolve. But this particular building did not evolve to the architect’s wishes it evolved according to a user customization, people just altered the building according to how they wanted so this is kind of uncontrolled metabolism and I think its interesting because user customization is completely a thing of the time of the internet. So it’s interesting to look how this design that was meant to evolve changed its course of evolution according to the user customization.


Elcin Pia Joyner

Golden #Etinterbro Question to Elcin Pia Joyner, artist , by Angelo Plessas

AP: What’s the process of a yoga session becoming an art piece?

Elcin Pia Joyner: I have been dealing with sculpture and materials for a long time now and at one point I started studying Buddhism and Sanskrit I realized that the word for “thing” in Sanskrit also means an event. So “thing” and “event” for them is the same thing. The reason for that is every single material in this world made of these particles and they vibrate and they hold themselves together and they create this entity which is not static. Even a piece of rug or marble or wood they all make all these particles and they vibrate. I came to the realization that sculpture actually is not a static entity, its not something you shape and it stands by itself, you put on pedestal and you exhibit in a museum, sculpture is not like that. At the same time I was practicing yoga and I realized that my body is also an event than aesthetic entity and I started dealing with the idea of yoga as a sculpture. When I take a posture it is a piece of sculpture, which is a dynamic sculpture and the process in between is very much like shaping the body moving the body becomes its own event and its own sculpture. So this is my practice right now dealing yoga as a process of art.


Jean Kay

Golden #Etinterbro Question to Jean Kay writer, by Angelo Plessas

Angelo Plessas: Why you hate the internet?

Jean Kay: i have access to so many thoughts that it’s hard to have my own


Che Zara Blomfield


Golden #Etinterbro Question to Che Zara Blomfield, curator and founder of Composing Rooms, by Angelo Plessas

Angelo Plessas: How the art of the future will look like?

Che Zara Blomfield: I think about this in relation to the Duchamp and him proposing the Fountain to be exhibited. It put life into art, not just a depiction of life. Now life is more artistic, the developed world has cameras attached to their phones. 6 billion have access to mobile phones, about 90% of the worlds population. I think the blurring between whats art and what isn’t will continue, along with who sees it and how they perceive it. I hope art will continue to adapt to the mediums available. What it looks like won’t be important… but how it engages its audience.


Meir Kordevani

Golden #Etinterbro Question to Meir Kordevani, artist and publisher by Angelo Plessas

Angelo Plessas: What’s a kibbutz? What’s your concept of the kibbutz?

Meir Kordevani: My conception of the kibbutz is a group of people gathering together and sharing responsibility but also benefits together. Nobody owes everything, everybody shares everything together. Then there is the burden of the living is divided by everyone. Everybody can also find time to accomplish who they are in this system


Mia Lundstrom

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Golden #Etinterbro Question to Mia Lundstrom, writer and urban planner, by Angelo Plessas

Angelo Plessas: Why you did you choose to do the horse back riding for the Eternal Internet Brotherhood?

Mia Lundstrom: First off, horses are a true passion in my life. I wanted to create an opportunity for all participants in the Eternal Internet Brotherhood to share this with me. And of course with the horses.
Horses are very intelligent and sensitive creatures which enables individual experiences on a deeper spiritual level for anyone that is open to it. There is no hierarchy or “filters” in the communication between horses and should not prevail between horse and human. For example, there is a saying that your horse mirrors your soul, sometimes you like what you see sometimes you don’t.
The experience we shared had a wonderful mix of ingredients that relationships with horses can add on to the taste of life; power, speed, wind, nature, beauty, spirit. Framed by the Dead Sea desert landscape, it was a delight and a true joy to observe. To sum up, the language of horses can teach us a lot about ourselves and enrich us as individuals as well as our diverse artistic practices, although it takes time. Introducing horses during the residency was an appetizer to broaden the understanding of horses and nature as well as a more profound understanding of our being.
“The wind of heaven is that which blows between a horse’s ears”
– Arabian proverb
(photo by Mai Ueda)
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Mirroring Places, Priscilla Tea, painting and images, 2014 for #ETINTERBRO



“Animism or What? at the Ein Gedi Kibbutz Botanical Garden”, animated gifs, Anastasios Logothetis for #ETINTERBRO

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CommunityBoxes are small and localised PopUp internet  hubs. They offer
sharing data/information Only within a specific physical location.

In the Eternal Internet Brotherhood Dead-Sea instance, we exchanged artistic data/digital materials via community boxes between artists in Palestine and residents of the Eternal Internet Brotherhood. These exchanges are only located in the physical area, allowing future visitors in the area  to experience the art materials they store/archive.




Miltos Manetas Invisible Painting in the Dead Sea for #etinterbro


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Pranalysis and Pranal rejuvenation, by Danai Anesiadou with Alkistis Poulopoulou for #etinterbro

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A Short visit to Zvi Hecker’s Ramot Polin housing, Andreas Angelidakis for #etinterbro , blog post post

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“The Big Jump” by Luca Pozzi for #etinterbro

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“Dead Sea Contour” by Mike Calvert for #etinterbro, Oil/Illustrator file/photo

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#ETINTERBRO Daily Yoga Session by Elcin Pia Joyner, Dead Sea


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A sharable google drive folder, by Vincent Charlebois for #ETINTERBRO

download here

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Dead Sea Dead Lines” multi-perfomance video live-streamed from the Eternal Internet Brotherhood camp by Angelo Plessas for the brand new Featuring perfomances by Vincent Charlebois, Anastasios Logothetis, Danai Anesiadou, Pia Elcin Joyner, Mai Ueda

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Photos from Dead Sea Lines

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Horseback riding in Jericho, organized by urban planner Mia Lundstrom for ETINTERBRO in coll. with the Equestrian Club of Jericho




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Psycho-Geographic Lines by Anastasios Logothetis for #ETINTERBRO

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During the Eternal Internet Brotherhood we made different night activities such as “Guess the Art Manifesto” and different games to meet each other better. Our activities also included lectures such as the one in the photo done from LA based artist Gil Kuno. (photos Andreas Angelidakis and Anastasios Logothetis)



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Body cleansing with Dead Sea mud as a general activity everyday #etinterbro (photos by Mirko de Lisi, Anastasios Logothetis and Luca Pozzi)



This is the GPS warning when we were entering the West Bank (photo Mia Lundstrom) #etinterbro #westbank



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The Oracle, Luca Pozzi for the Eternal Internet Brotherhood, Dead Sea, 2014



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Night Visionquest by Meir Kordevani for #etinterbro



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Golden Brotherhut, by Andreas Angelidakis for #etinterbro

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Sunset Yoga Sessions by Elcin Pia Joyner.

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The Eternal Internet Brotherhood just started, Dead Sea



Location Scouting day 1




Las Pozas, Xilitla, Mexico, 2013

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Andreas Angelidakis (GR/NO)
Ben Aqua (USA)
Apache – Theodore Darst and Nate Hitchcock (USA)
Jacinto Astiazarán (MX)
Harry Burke (UK)
Mike Calvert (USA)
Cibelle Cavalli Bastos (BR/UK)
Vincent Charlebois (CA)
Tyler Coburn (USA)
Birch Cooper (USA)
Rhys Coren – (UK)
Petra Cortright (USA)
Jesse Darling (UK)
Zachary Davis (USA)
Brian Droitcour (USA)
Cecile B Evans (UK)
Joe Hamilton (AUS)
Marc Horowitz (USA)
Attilia Fattori Franchini- (IT/UK)
Rozsa Farkas – Arcadia_Missa (UK)
Manuel Fernandez (ES)
Paul Flannery (UK)
Marina Fokidis (GR)
Emilio Gomariz (ES)
Brian Khek (USA)
Anastasios Logothetis (SE/GR)
Michael Manning (USA)
Jaime Martinez (MX)
Theo Michael (GR/GB)
Ceci Moss (USA)
Brenna Murphy (USA)
Junk jet (Asli Serbest/Mona Mahall) (TR/DE)
Hans Ulrich Obrist (CH)
Eva Papamargariti (GR)
Yuri Pattison (UK)
Angelo Plessas (GR/IT)
Rafael Rozendaal (NL)
Nicolas Sassoon (USA)
Hugo Scibetta (FR)
Pascual Sisto (USA)
Jasper Spicero (USA)
Zak Stone (USA)
Rasmus Svensson (SE)
Priscilla Tea (IT)
Johannes Thumfart (DE)
Panos Tsagaris (GR/USA)
Mai Ueda (JP)
Lance Wakeling (USA)
Krist Wood (USA)


The second Eternal Internet Brother/Sisterhood Promo used in crowdfunding platforms



Athens, 28th January 2013

The 1st Eternal Internet Brotherhood happened in the summer of 2012. It was a cooperative camp between artists, curators and writers that took place on the greek island of Anafi. A mystical island located on the edge of the Cyclades, used in ancient times as an “interface” for mythological adventures.

This year the 2nd Eternal Internet Brotherhood will take place in Mexico. It will host artists, writers and thinkers who will pass by the sacred ancient Atzec soil of the pyramid of Tepotzlan culminating in the surrealist park of Las Posas.  The choice of the annual site is based always on the idea that ancient mythologies can network our contemporary condition.

During the Eternal Internet Brothehood we all stay and work closely in a common mental and/or physical environment, and we organically create new concepts swarmed by data, dreams, feelings, knowledge, visions and sounds.

The Eternal Internet Brotherhood is an experiment and a situation. A quest for an union of all disciplines where the creative offline and metaphysical online modes of well-being spark a liberated intellectual evolution. No discipline or mode will replace one another but intertwine with each other.

In our days the internet is a place where new realities take form as we encounter innumerable images and stimuli. Internet browsing is seducing,

it’s a perpetual quest for new fantasies both visual and conceptual and I believe it is our gateway to freedom and escape. It should not be misguided as a tool but more as a structure against hierarchies and social conventions.

We are all entering a new phase, a phase of a unity maintaining intelligent behaviors that emerge from online and virtual interactions while promoting the power of imagination as we progress from one sphere to another. The Eternal Internet Brotherhood aspires to form new narratives under this scheme. Between digital ecstasis and real-time social complexity, from connectedness to dislocation all embraced with the soul’s reunion with the perfection of nature.  All beyond perceptions of literal and limited use of technology.

It is the time we change in essence and form the way we work away from lethargic and tedious manners. We artists and writers ought to transcend this. One of the first things to be done is to come closer to nature, with or without our machines. We should work by nature, copy, reproduce or just enjoy it as the perfect interface.

For this operation we will use every medium and cross disciplinary practice focusing, extending, evaluating on the themes of distribution, materiality, human interaction and well-being.

The window to this experience is open.

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We are excited to announce The Eternal Internet Brotherhood website has a new mobile friendly interface designed by PWR Studio.

The new interface is called “The ∞ INFINITE ◯ Webring of the Eternal Internet Brotherhood” is neo-archaic, semi-random navigation ⎈ system hand-coded and chain-linked by PWR Studio in the €uro-zone in August 2013. A never-ending loop within the complex coils of the society of control. No Menu. No index.

Through this system you can navigate through extra interviews, essays, and projects done for the Mexico edition during April 2013. Projects by Andreas Angelidakis, Jacinto Astiazaran, Sotiris Bakagiannis, Cibelle Cavalli Bastos, Harry Burke, Vincent Charlebois, Tyler Coburn, Birch Cooper, Rhys Coren, Petra Cortright, Jesse Darling, Zachary Davis, Apache-Theodore Darst, Brian Droitcour, Cecil B. Evans & Yuri Pattison, Rozsa Farkas, Manuel Fernandez, Paul Flannery, Attila Fattori Franchini, Marina Fokidis, Emilio Gomariz, Joe Hamilton, Marc Horowitz, JunkJet, Brian Khek, Mirko de Lisi, Anastasios Logothetis, Michael Manning, Ceci Moss, Theo Michael, Brenna Murphy, Angelo Plessas, PWR Studio, Eva Papamargariti, Rafael Rozendaal, Pascual Sisto, Jasper Spicero, Nicolas Sassoonn, Zak Stone, Hugo Scibetta, Panos Tsagaris, Johannes Thumfart, Priscilla Tea, Mai Ueda + Mike Calvert, Hans Ulrich Obrist, Lance Wakeling, Krist Wood and many more.




No Happy Endings: A Post-Private Massage, an essay by Zak Stone for #ETINTERBRO

When you’re flirting with someone you have to be very aggressive, he told me after. You have to show them that you want to make them yours. But, at the same time, that you don’t give a shit.

We were observing the locals—a young couple giving their son a swimming lesson by the waterfall—while chatting about privacy, about whether or not it’s disappearing.

Is a post-private world futuristic or nostalgic?

My thoughts: Outside our specific worldview, privacy is hazy. Parents, family, neighbors, watch, listen, ogle you eating, breastfeeding, screaming. They give feedback.

Only those who are free can get bothered about privacy. It’s a prestigious right.

In Southern Arizona border patrol agents have erected outposts on the northern side of the border. “Are you on American citizen? Are you an American citizen?” they ask drivers commuting through the desert.

Video phone in hand, privacy activists drive their cars up to the checkpoints, stop, roll down the window, and then—when asked the routine question—refuse to answer, press ‘record.’

The community of activists (it’s a straight-white-guy thing) posts their defiance to YouTube. It’s for privacy’s sake (not for immigrants’).

They get lots of hits.

Both those who aren’t like them experience privacy differently.

The family swimming in front of us may occupy a realm that’s maybe pre- or post private, to which we are just returning or arriving, he suggests. (We’re staring at them.)

My thought: We who have privacy are choosing to give it up, and we should do so proudly.

We ascend the castle and the massage begins. His hands press my back while I think about shame and fucking, about sex and love, and what I look like now on the ground, and how it feels to be watched.

A women’s voice monotonously describes the loneliness of a beautiful place in my ears through headphones. Nature’s beauty is lonely because nature defies our urge to be transactional. You can’t fuck nature. You can’t pay it. Its beauty leaves us isolated, cold.

We put pressure on natural places to do things to us. To change us, to give our thoughts silence (privacy), to allow us an escape. But there is no longer an escape, even here.

It’s always just the village.

By the waterfall, the little boy from Xilitla had stared back at us, swimming ten feet away from his parents who are in love and distracted. His mom is chubby; she looks up at her man. He’s climbed the waterfall and straddles the stream of water and cups his hands in front of him to outline a heart and looks down at her. He wants attention.

I tell the little boy ‘mira a tu papa.’ He keeps his eyes trained on us.

Nature’s the same as the massage – you can’t fuck a massage. There’s no orgasm. You don’t come, but this person’s touch is meant to change you. The body is a meat that the masseur tenderizes, and eventually—there’s a result, there’s matter that’s changed: a resorting of particles.

The process is designed for a closed environment. Highly controlled, an experiment but intimate. It’s meant to be private. We play Eastern music and modify the lighting.

On our date before the massage, we swam, and I took a picture of him in the waterfall with my iPhone 5, and it looked like he was climbing up to heaven—the overexposed sky was white above him from the sun – and he thought the picture was cheesy, but then again, why does it have to feel cheesy when something’s just nice—

And then my grandmother texted with details about picking me up from the airport on Friday, that You Do have Togo thru customs. It is in terminal 4. I will meet you there. Text me just before take off and also when. You land.  Haveagood flight.

It’s an interruption into a moment that could be romantic. Or it’s just business or it’s just friendship between two lustful men: one older, smooth, light, European, who performs; the other younger, tanner, American, who records.

The text in my ears is taken from personal journals he kept on a 90-day retreat to a beach in Crete. It was an effort to condense his artistic mission into a digestible paragraph (for the galleries) while he can take a more interesting, less-directed path—hiding behind the clarity of his own statement.

He says his work deals with exploring his own femininity. “A hetero-male feminism.”

He’s performed this routine since last February on people from the art world—in a reconverted church somewhere in Brooklyn. But the performance has a different sensibility in Las Pozas, in open space—where I can hear tourists stepping over my body, spread across a towel on one of Edward James’s many bridges to nowhere.

One ought to feel freer here, but I’m told my back is tense, just like the New York gallerists’. (I’ve out-smoked them in cigarettes here too, and out-frustrated them sexually.)

I’ve wanted a hand to touch me but have it go beyond what’s going on right now, to own someone, to get intimate. Because isn’t that what’s supposed to happen in beautiful, private places.

When you’re flirting with someone you have to be very aggressive. You have to show them that you want to make them yours. But at the same time, that you don’t give a shit.

But when you’re facedown on the towel, you have no choice. You’re already his.

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“The Narco, The Prepper and The Proto-Transhumanist” by Theo Michael for #ETINTERBRO
After watching a few hours of  Trecartin videos on vimeo, I understood I wanted to do something a bit more anti-internet. But then I thought of the cliche question between internet artists: “Is there life outside the internet?” The cliche answer is no, but I didn’t want to pronounce it. Yet I could certainly say that there is death outside the internet. Internet, being the developing nervous system of humanity,
gathers memories and is thus seen by many as a contraption that leads to immortality. “Hey, my face shows  up on Google search, I’m quasi-immortal.” Every personal device connected on the internet is the equivalent of a neuron, with Google servers being thick neural clusters and the arrival of supercomputers and superintelligence will signify the  beginning of humanity’s collective brain. Kurzweil says all that will be reality by late 21st century and hopes that he will be uploaded and backed up. We are all waiting for the Singularity.
On the other hand I prefer something more subtle, like an old fashioned burial of a time capsule in a forest every once in a while. So I put a shovel in the car the other day and drove off. Halfway to the forest I realized that if anyone saw me digging a hole in the middle of nowhere he’d think I ’m carrying a dead body. What if he was there to bury someone for real?That’s Mexico let’s not forget. The country with a high ratio of illicit burials per capita. It should be a fast digging job. No one should see me.
Another feeling that crept up was that of the doomsday prepper. Was I trying to capitalize on the possibility of the internet’s demise? If a co-ordinated attack on major data centers and cables took place, then what? Or what about an attack on all major electricity generators? Then almost everything anyone is doing today is futile. Then  sealed packages like mine could prove important if found as they would be almost perfectly preserved. How many people go around burying stuff double and triple wrapped in plastic containers? After all, goods made today are flimsy
and ephemeral and will degrade fast. Most skyscrapers of today will have to be demolished in 100 years max. Most stuff is recycled. Imagine the archaeologist that will find a fossilized ipad. No apps there, innit! Of course by that time the
pyramids will still be there. Ancient peoples understood eternity better it seems. Finally entombing people or objects is a type of proto-transhumanism. Why do you try to preserve something if not because you believe that this something will
transcend all existing somethings? Deep inside we think that buried people will be resurrected one day. It says it in the bible, the transhumanist mormons believe in it too. With this type of nonsensical thoughts in mind I proceeded with caution,
dug a one meter deep hole, placed the package, filled back the soil and covered up the traces of the act. It was a good day.

Theo Michael



Welcome to the Wangjaesan, an interactive video by Cecile B. Evans and Yuri Pattison for #ETINTERBRO

The Wangjaesan Art Troupe is a dance company that makes regularly scheduled appearances on the DPRK national television station. The tags were compiled through found sources and answer forum responses to questions about rain, the color orange, forever, and the future. This is part of an on-going research about North Korean culture.
When the spinning info icon appears, click on the icon to view the tags


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Mai Ueda + Mike Calvert - WeddingTea Ceremony, Las Pozas for #ETINTERBRO.

Tea Ceremony by Satoko Souheki Mori

Mai and Mike’s statement:

We wanted to make a wedding as our participation to the Eternal Internet Brotherhood. Non of our family members came, but it was our internet family sharing love, matcha from a same cup made by a tea master and swimming naked in the lagoon at the end. Traditionally we share a cup of matcha to feel no boundary between people, I and you, we and others kind of concepts are put on the side when we share. We were all together.


Liberté, égalité, fraternité – The Workings of Brotherhood in the Age of the Web

This may be irrelevant, but when I hear the term “brotherhood” I first think about the “Aryan Brotherhood”.  The Aryan Brotherhood” is a neo-Nazi organization, about which I once saw an episode of “Gangland”. “Gangland” is a TV-series on the “History Channel”. On TV, they said the Aryan Brotherhood” was one of the most violent of all prison gangs. Then, I think about commander – was that his rank? – Kane and his “Brotherhood of NOD”, the evil faction in 1995’s real time strategy blockbuster “Command and Conquer”. Kane, the leader of this sinister brotherhood had a baldhead and wore leather. The logo of his crew was the tail of a scorpion on a red background. The movies that Imdb lists under the search term “brotherhood” are all either about similar dark cults or about brothers who grew apart, such as the 2006–2008 TV series “Brotherhood”, which – according to the plot summary – “reflects around two brothers on opposite sides of the law: one a gangster and the other a politician.”

It feels almost redundant to mention Cain and Abel, Romulus and Remus, Richard I the Lionheart and John Lackland of England, Heinrich and Thomas Mann, Brian Wilson and his “Beach Boy”-Brothers. Practically all the famous brothers hated each other. Brotherhood, in spite of the term’s somehow positive associations with community, is essentially a dark thing. 

But that was too fast. Before I come back to the problem of individual evil, let’s talk about violence and evil in a larger scale, the grand narrative. By the end of the 18th century, the broad availability of firearms has led to the French Revolution – overall a catastrophe, bringing about not only the terror of the guillotines and Napoleon, but most of all the rule of the bourgeoisie, which was in some ways – the hells of the 20th century proof it – even worse than what it replaced.

In spite of the devastating effects of this failed revolution of 1789, which still can be felt today, it must be considered one of the most radical undertakings in human history, only comparable to the total transformation of everyday life by the Russian avant-garde before Stalin imposed the kitschness of dictatorship upon esthetic progress. The sans-culottes and others not only wanted to overthrow the proverbially rotten French aristocracy, but also were seeking to built a new society, a society based on the new, secular values liberté, égalité, fraternité. 

Invoking this baguette-ish triad seems inevitable when talking about brotherhood and therefore all too trivial at first sight. It is no coincidence that contemporary French neoliberal populist philosophers such as André Glucksmann and Paul Thibaud both were giving unctuous elaborations on this matter. And who has ever been to France will hate nothing more than this kind of revolutionary kitsch that also fuels the so called “radical” left of the country, most of all Alain Badiou, who loves to proclaim “la revolution” from his recess in an elite university.

Something though, is in spite of all that remarkable in the triad liberté, égalité, fraternité: To come straight to the point, it says “brotherhood” not “sisterhood”. Why is that so? Surprisingly, there are not many people who even thought about this. One of the few exceptions is Belgian art historianThierry de Duve in his essay “Humains, encore un effort si vous voulez être post-chrétiens!” To de Duve, who is otherwise a remarkable thinker, the use of “brotherhood” is a hint for the sexism of the French Revolution, which, especially in the juxtaposition to the sacralisation of female figures such as the Marianne, proves that all ideas of the French revolution are ultimately phallo-, logo- and whatever-centric.

Of course, that is exactly the kind of bullshit post-deconstructivist and meta-modern approaches have to get rid off. De Duve, otherwise brilliant, is just projecting his own mindset on other epochs in this case. He ultimately criticizes the French Revolution for its inherent sexism that he locates in the fact that 18th century rhetoric didn’t include the gender-neutral formulations of today’s campuses. He implicitly alleges that the French revolutionaries didn’t know better, that they in fact wanted to say “humanity” or “solidarity”, but their sexist subconscious spoiled this certain wish. There is no more naïve and self-righteous way to misunderstand historical speech acts.

The French of the 18th century were probably not aware that “brotherhood” involved an exclusion of gender. They had drafted a “Declaration de droits de l’homme”, which was gender neutral, in spite the word “homme” literally means “man” in the gender sense – just like the English word. In fact, the constitution of 1791 uses the notion of brotherhood in direct relation to a gender-neutral “homme”, when it says: “Men (hommes) of all countries are brothers (frères), he who oppresses one nation declares himself the enemy of all.” It is therefore most likely, that the “fraternité” doesn’t only imply men.

Nevertheless, “fraternité” is not simply a gender-neutral form of “solidarity” or “humanity”. The revolutionaries could have used the gender neutral terms “humanité” or “solidarité”, if they really would have wanted to express that. Both words do rhyme with “egalité” and “liberté” and there were many different versions of the slogan liberté, égalité, fraternité circulating. Replacing one term was a real possibility. 

So, why “brotherhood”? What separates the members of a brotherhood from those of a sisterhood besides the bearing or non-bearing of the typical sexual organs – which is most likely anyway not the way how a 18th century person would have understood gender differences? Why is “brotherhood” not “sisterhood”, in a political sense? What is the real difference between both concepts?

I mentioned it before. First of all, it needs to be noted that the brothers in classical narratives all hate each other. This phenomenon also exists concerning sisters, but it surely is stronger with brothers. It is almost hard to choose where to begin. Cain and Abel. Osiris and Seth. Romulus and Remus. Richard I the Lionheart and John Lackland of England. Heinrich and Thomas Mann. Where brothers clash, there is often blood. And being competitors for elderly love and heritage, they clash almost everywhere. The relation between really existing brothers is in fact, the opposite of solidarity.

This is an even more interesting fact, since – in spite the hatred between real brothers being trivial and everyday life knowledge – one still associates “brotherhood” with “solidarity”. And we rarely even think about real brothers when we think about “brotherhood”. Two brothers are relatives, but they almost never form a bond of “brotherhood”.

On the other hand, a “brotherhood” is a somewhat mythical, undefined threat to an outsider from the realm of fairytales and conspiracy theories. A “brotherhood” will have its symbols, its liturgy, it’s “secret knowledge”. In one sentence: a brotherhood is folklore and kitsch.

In the juxtaposition of these two implications of brotherhood, one can easily recognize a paradoxical coincidence. The impossibility of real, blood-based brotherhood on the one hand and the hysteric, kitsch concept of brotherhood as secret society on the other. In spite of being the opposite, both notions exactly presuppose each other. There is something so deeply virtual and unreal in the term brotherhood as solidarity that it can only be expressed by the means of a hysteric narrative.

The political notion of a brotherhood – the specific community that brotherhood describes – therefore doesn’t most importantly imply a form of solidarity, but precisely the virtuality of solidarity. When the French citoyensacted with the legitimacy of a “brotherhood”, they acted as individuals in the name of a fictive universal community, which – especially because it obviously doesn’t consist of genetic brothers – at the same time acknowledges its own virtuality. If Kant’s philosophy is the philosophy of the “As-if” – and this fictional approach is precisely the strength of it – then the brotherhood is the community of the “As-if”. The individual acting in the name of a brotherhood, any brotherhood, is like the individual acting in the name of the categorical imperative: acting in the name of the “As-if”. As in Kant’s categorical imperative, it is not the content that is important, but only the form.

It is precisely the fiction of the “As if”, which opens up the space of the universal within the limited sphere of the concrete: a possibility that would be less universal if “brotherhood” described a real existing institution. Mathematics is one path to the universal, fiction another. They both happen in a situation where the individual is directly connected to the universal, without institutional middlemen. There might be an institution that doesn’t recognize that 2+2 = 4, but every individual, especially in liberty, will always come to the same conclusion. Narratives, if not obstructed by institutions, do work in a similar way, although their truth is existential, not formal.

A brotherhood is – like a tribe – what Lévi-Strauss calls a “zero institution”. It is an institution with neither function nor meaning. Neither does it represent a shared understanding, nor an assumption, nor a shared concrete narrative. Rather, it is just a common, empty “as if” that can take on any concrete narrative or meaning. As such, every individual ultimately decides the meaning of it, but it can serve as a basis for individual actions performed with reference to a fictive community.

It is interesting to recall the brilliant essay “Why the Net is not a Public Sphere” by Jodi Dean, in which Dean argues that the net is such a “zero institution”, since it forms a global discourse and a global sense of community without any concretely existing global community. This paradoxical situation for example leads to the bizarre, clearly untrue idea that “the net” or the “internet community” had one voice, as newspapers and TV often say. The net itself is a fertile ground for infinite brotherhoods with their manifold shibboleths of youth- and nerd-culture. But it also produces a sense of universality in regard to its form, in regard to common, merely technical interests and the common fight against laws such as CISPA or SOPA. The space of the web, as Dean argues, is precisely not a public sphere, but something different. A space in which neither arguments are exchanged, nor consensuses are found, nor people represented: a space instead, in which the logic of representation is exchanged for the logic of action under an individually formulated universal narrative.

This end of representation is precisely what makes a brotherhood so politically powerful and so disquieting. Anonymous or the Mexican#yosoy132 are such brotherhoods. Everybody can claim to act in their name. The Rosicrucians in the 17th century, aka “Fraternity of the most Laudable Order of the Rosy Cross”, were such a brotherhood. Their Invisible Collegewas fictional. Their founder, Christian Rosenkreutz, never existed. One of their most sacred texts, the Corpus Hermeticum, was a forgery. Nevertheless, they formed the seed of the Royal Society, which revolutionized science by universalizing it, by detaching it from concrete institutions and binding it to the individual and its own judgment.

This notion of the “Invisible College” or the “Invisible Church” has been influential throughout occidental history. As Carl Schmitt writes in his essay on “The visibility of the Church”, Christianity includes the possibility, that in times of exception, the times of the parousial presence of the divine, the individual has to bypass all institutions and to seek its own relation to the universal. It is important however to remember Kierkegaard here, who clarified that the individual can only find such a privileged path to the universal inasmuch as it is itself an exception to the universal. The individual can only relate to the universal in the form of understanding itself as an exception to the universal – and by doing so, at the same time affirming and revoking the universality of the universal.

Similar is the relation of the individual to the brotherhood. The universal can only be fictively invoked as an exception, as a kitsch narrative that at the same time as it is invoked, questions its own legitimacy. It is the big advantage of a brotherhood that it ultimately cannot and never could be taken seriously. In these terms, one has to understand the triad: liberté, égalité, fraternitéFreedom and equality are such absurd, unrealistic ideals that they can only be understood within the framework of the fictive, unreal community of a broken universal that is exceptional and only includes exceptions.

Johannes Thumfart

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The Sacrifice, by Joe Hamilton (video) #ETINTERBRO



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“Designer’s Bowl from Winter” by Jasper Spicero for #ETINTERBRO

“Designer’s Bowl from Winter” is a prop from a concept film or video game about a designer named Gordon. Gordon designed the bowl as a memorial to a nervous breakdown he had in the winter time where he smashed all of the ceramic bowls, plates and mugs in his kitchen.

Download the .obj of the Bowl from here

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The Couple by Camilo Villegas Salazar #ETINTERBRO

Gold leaf over 100% japanese handmade cotton paper



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Las Pozas Entities 1-3, Birch Cooper for #ETINTERBRO

computer generated 3D work inspired by the synesthetic experience as personified by trans-dimensional entities that represent an expanded perception that we strive towards in our exploration of rituals, technology, psychedelics and creativity



Eternal Internet Brotherhood Trailer by Jacinto Astiazaran for #ETINTERBO



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Forever Young by Pascual Sisto for #ETINTERBRO

Synthetic palm planted forever in Las Pozas



A child is born on the Internet by Tyler Coburn for #ETINTERBRO

Recited on April 18th by Eternal Internet Brotherhood participants at the guest house of Sir Edward James, Las Pozas, Xilitla.



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ID badges, by Brian Khek contribution for #ETINTERBRO



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Eternal Internet Brotherhood belt by Guglielmo Fabian worn by Petra Cortright. #ETINTERBRO (Photo by Jaime Martinez)




On Brotherhood, a visual essay by Attilia Fattori Franchini #ETINTERBRO

Click here to read PDF



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Open letter to the Brotherhood on 10 postcards from Berlin, by Jesse Darling for #ETINTERBRO

Read the letter here



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Effigy by Krist Wood for ETINTERBRO

The chosen object is a ceramic cube (six faceted [hexahedron]) placed in Las Pozas park of dimensions 6″ x 6″ x 6″. One facet is absent leaving an open cavity where something could be placed inside.



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An idea to digitally sketch
portraits of some people who are attending the Eternal Internet Brotherhood at different intervals based on photos they take of themselves or of each other when feeling these 3 emotions:





Heartbreak = 1st world problem (4 poems) by Harry Burke for #ETINTERBRO


Heartbreak = 1st world problem (4 poems)




i’ve stopped imagining what you look like hovering

slightly on top of me i i know

you’re basically mundane in all images

yet to be between me or passive persuasive

a ten second video file on my phone

there’s nothing of you below your shoulders

but what you’ve shared with me

sculpted as a way of saying no

reproduction is reproduction in a culture where there’s no original

metaphors are the context of the soul

imagine a biro stuck in meat

the way that sound comes out your throat

i imagine you not talking until you get home


bad poem


i think i want you to want me

it’s impossible to feel engaged anymore

when you start building voices, they start to build you back

i’m obsessed by her virtuality

i noticed myself in a cooperative living environment

she always replies when i think of her

i copy and pasted the perfect poem

in the bedroom where our toes are linked together

you can’t talk to someone you don’t know

i slowly cut off parts of me

then arranged other parts to make them better

i’m going to be with her

these were jokes meant for people with inside knowledge of heartbreak

she doesn’t know it but i am

i’m waking up in different possible combinations

love is needing help on selfies

i want to play objects with you


hurt poem


What if you’re heartbroken you go round wondering, is everyone heartbroken?

Is that how they got to this place? Any human actor could recognise this as sad.

I’m going to completely remodel my favourites into an image of you

Like when you scratch yourself perfectly curvilinear and permanent through my spine

You can construct a relationship in your head it still hurts.

Even hackers have conferences

I want to stop every message of every other person and my eyes

I’m going to make your search history mine.


in you


sleeping pills only work if you sleep

i’m basically sitting here waiting for you to touch me

i’ve changed all my images to pictures of you

thinking of your nail falling down my thigh

in the middle of anxiety is the cloud

these are jokes made for people with inside knowledge of forever

you left a tiny bit of your skin on my heart




Anathema from Athens, podcast by Marina Fokidis for #etinterbro



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Ruins of the Internet by Andreas Angelidakis for #ETINTERBRO

3 models re-arranged in Las Pozas.




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Airy www by Priscilla Tea , projection on nature for #Etinterbro



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Voids by Zachary Davis, click here for URL, for #Etinterbro

Voids is a non-deterministic web animation that presents a large collection of image search results for the term “void”. They appear through another procedural collective, a group of moving reveals which obey the rules of flock dynamics. The images come from games, artist portfolios, desktop backgrounds, astronomy, topology, and elsewhere, representing a communally generated, algorithmically filtered stab in the dark at a fundamentally elusive notion.



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Virtual girls, projections by Petra Cortright for #ETINTERBRO



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Got To Believe piano part



Dear Angelo,

Attached are my submissions for the Eternal Internet B. It’s 4 piano compositions I made, based on rave piano solos from the early 90s. I have used the recorded audio for several shows, including one I have now, but thought it would be great for someone in Mexico wh could read music to play them! What do you think?
Hope you are good,


Drop The Bass piano part Got To Believe piano part Holding On piano part In Complete Darkness piano part



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Random Pleasures by Rafael Rozendaal @newrafael for #ETINTERBRO

(projected on white sheet next to our camp)




LEFT.RIGHT.REAL. by Cibelle Cavalli Bastos for #etinterbro

(projected in the Eternal Internet Brotherhood camp)

See the video here





Essay by Rozsa Farcas (Arcadia_Missa)

Recently myself and others have been thinking about how to be a ‘collective body’, and what and where are our ‘commons’ after the internet. This was written within that conversation with other people, and is one small thread within that conversation. Maybe EIB is similar in this regard – a group trying to create their own commons within a specific physicality that is both on and offline.

Link to PDF

SOTIRIS BAKAGIANNIS, by Sotiris Bakagiannis #ETINTERBRO HTML canvas composition tracking tweets from around Xilitla and the gardens of Las Pozas where the brotherhood is meeting this year, turning corresponding user...3 years ago, by Sotiris Bakagiannis #ETINTERBRO

HTML canvas composition tracking tweets from around Xilitla and the gardens of Las Pozas where the brotherhood is meeting this year, turning corresponding user profile images into a colorful mexican blanket like pattern. Visitors are able to change perspective and offer additional visuals for processing using their webcam. Technologies(libraries) used: nodejs, jsfeat, websockets, twitter api,



“Searching is not Surfing”


*(Sep 2016) the app will be working soon.





A-Mazing Group show by Lance Wakeling for #etinterbro





Logotherapy (day #53) by Anastasios Logothetis

As part of the long-term project The Possibility of a Beach

During a 90-day long trip spent in isolation on a beach in Crete, Greece, the summer of 2010, Anastasios Logothetis documented the passing of every day in writing. Spanning over a large spectrum of formats the different days reflect on the life at the beach while dealing with a specific set of issues. A selection of days are then developed into works of art. As a long-term project The Possibility of a Beach allows for the works to take the form of research in development, while also existing as finished products ready for display. In a modular fashion the different days are situated next to each other to form specific strands of thought. However, when a different constellation occurs between the days the line of thought is dislocated to form a new one. For the Eternal Internet Brotherhood he is to continue the realization of day #53. As a respite from the increasingly stressful life of the art worker a carefully selected group of curators, writers, critics, artists and such are invited to participate in private Swedish massage sessions that I perform personally. The selection, and the performance, is to occur by way of a dynamic consultation and movement throughout the art world over an extended period of time over the next few years. When arriving at the given locations around the Xilitla area in Mexico the participants will be asked to wear headphones and listen to a sensual female voice narrating the text written on the 53rd day I spent on the beach while being massaged. The sound has been recorded with binaural microphones in such a way that the female voice is heard from wherever my position is in the room during the massaging process. An amalgamation of male and female sexualities occur creating a short-circuit and a kind of virtual space. In return, as an exchange, the participants are asked upon to produce a commentary (such as a review, a piece of fiction, critical text, or an artwork respectively) of their own experience. In due course this will amount to an exhibition of the works in conjunction with a collected publication of the texts as the final and sole documentation of the performance.

New Ruins. Google Earth Tour by Manuel Fernandez for #ETINTERBRO
New Ruins. Google Earth Tour is a visual geolocated 3D installation project made in Google Earth in wich the most known ancient ruin models have been remapped and reinstallated in their original places.
Link to the video project in vimeo:



nversions by Theodore Darst- APACHE for #ETINTERBRO

Inversions is a new series of works developed as a response to Darst’s earlier video series Earth.Art. In Earth.Art,animated 3D models were introduced into natural landscapes. Inversions uses the footage from the earlier series as a texture for new models, which will be projected onto surfaces in the surrealist gardens of Las Pozas. The pieces are a reflection on landscapes, internal and external, and the architecture of our digital environment. This series was created expressly for Apache Projects and The Eternal Internet Brother/Sisterhood.”





Joe Hamilton for #ETINTERBRO

(Source: joehamilton)

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Ruins by Hugo Scibetta for #ETINTERBRO
“Ruins” is an attempt reconstitution of memory images which exists only virtually and memories eroded by the screen.
A journey that will not happen, the Internet is an effective tourism catalog,
where it is possible to absorb a large amount of information and symbol on the destination experience.
Meanwhile, Google Street View is an extension of the more physically possible to move through in a given space.
“Ruins” is destructive synthesis of this expedition, it is the review of a past time and images that naturally never existed.
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Nicolas Sassoon: the Eye of the Eternal Internet Brotherhood



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Astronomy workshop by Daniel Eksdeman #ETINTERBRO





Panos Tsagaris contribution: Untitled drawing, archival print 51x76cm #ETINTERBRO


Brian Droitcour essay #etinterbro 2 contribution

Kenneth Goldsmith thinks the definitive literary method of the information age is uncreative writing—
a kind of literature where authorship is the embodiment of copy-and-paste software functions, where the selection
of material for appropriation is the primary task of the writer, where “the context becomes the content.” This
is all outlined in his 2012 book/manifesto, Uncreative Writing. Goldsmith’s approach to poetry comes from an
understanding of language as material. In his book Uncreative Writing, he traces the genealogy of his own work to
the typesetting experiments of Mallarme and the subsequent explorations of concrete poetry. Language’s materiality
was the object of modernist experimentation a hundred years ago but, Goldsmith says, it is more apparent than
ever in these times, when everyday speech is bound to screens and devices and the accumulation of it results in the
construction and expansion of server farms, where language is deposited like geological sediment.

But material isn’t always inorganic and mechanical, like the metaphors that Goldsmith uses to evoke
language’s concreteness. People are material, too—our bodies touch, eat, digest, and excrete the material of the
world around us. New habits like checking Twitter while taking a dump or vacuuming crumbs from a laptop’s
keyboard reflect the incorporation of telecommunications into the body’s day-to-day cycles, reminding us that
utterances issue from the body like abject emissions and that language is a basic material aspect of our being in the
world. There’s another kind of internet-oriented writing that implicitly takes this understanding of language and the
body as its foundation, and it is called alt lit. Here’s a poem by Crispin Best as an example:

*that noise from the start of ‘circle of life’*

hello, assholes

so i am having my first snowball fight of the year

and holy shit it is awesome

tonight i want to tell you that the moon is my favourite kind of indirect light

but instead i’m 5 years old throwing snowballs like i’m 5 years old today

my internal monologue says “nothing rhymes with orange”

and i’m like “wow dumbass no it doesn’t”

i throw a tiny snowball and you catch it in your mouth thirty feet away

so yes i am the spooky janitor character in the direct-to-video movie of your life

and no-one has leaned over and kissed me for a long time

with your gloves on your ears now you are the world’s rarest moose

but i throw a snowball directly up and close my eyes

please god jesus let it land on my head

it doesn’t and you walk over laughing and i feel sad

you take the snowball out of my hood and smash it into my face

snow is cold as shit when you’re 5 and i love it

the last time someone kissed me i could feel their mouth smiling

and i don’t know if that is good

but ok i am a power station in your goddamn countryside tonight

and on a scale of alive we are alive

Location and time are fluid in this poem. The “tonight” of the poet’s present merges with his childhood
in the telling, which is delivered in a tone that is both naively child-like and youthfully insecure, a tone that easily
accommodates both the description of the snow on his face, “cold as shit,” and the account of a recent instance
when he was kissed and felt a worrisome smile on the girl’s mouth. The sensations of the distant snowball fight are
so crisp that he feels them as viscerally in the “now” of the poem as he did in his childhood. Affect lines physical
feeling, and shows how the shapes of them match; the coldness of the snowballs coincided with his earliest feelings
of attraction to a girl, and that is what brings the coldness to the skin as he writes a love poem now. Sensation,
memory, and poetry fuse in a single experience, an experience permeated with the feeling of being doubly alive.

The poem first appeared on a blog, but that’s not all that makes it alt lit—although the immediacy of
publication enabled by the internet neatly pairs with alt lit’s fascination with the immediacy of physical experience.
Best actively uses social media sites as creative platforms, stringing together Facebook-page hyperlinks in status-
update poems, and playing with double-decker puns and expressions of dumb wonder on Twitter. (His most popular
tweet to date, as recorded on his FavStar page: “girl u put the baller in ballerina”; it’s followed closely by “wow
just remembered cats have dads.”) The title of the poem reproduced above uses the Twitter convention of putting
asterisks around sounds and actions—a convention well-suited to use in a theatrical, expanded writing that attempts
more bluntly to lodge sensory experience in words.

In Uncreative Writing, Goldsmith cites a question posed by a magazine: Who could be the Andy Warhol of
poetry? He dismisses it promptly—Warhol, after all, was unique to the conditions of his time—and yet he goes on
to discuss Warhol in depth as a genius of unoriginality, implicitly arguing that uncreative writing is literature’s Pop
art, and Goldsmith is its Warhol. But his original assertion is right. The conditions of culture have changed too much
for there to be another Warhol, or for the kind of art he made to matter now. In the sixties, it was exciting for people
to become machines, to coolly reproduce images and affects, to artfully mold their self-presentation. Warhol’s art
and life captured the popular imagination to such an extent that Warholian self-design is a common practice and
corporate gospel. He invented ways for people to consume and to get consumed by brands. His body was artificial
(made-up, wigged) and untouchable; he rarely ate or expressed emotion in public. This was how he made himself a

What’s interesting in art and literature now is not the mechanical operation of language and signs—
computers in our pockets do that for us—but the visceral flow of them in and out of bodies, which is mediated by
(but separate from) the computers. Self-design is less interesting than the selfie. The selfie—the self-portrait made
with a telephone’s camera—is a diminutive of the self. It is the abject residue of personhood’s digital molting,
images shed in square, flat flakes like bits of a snake’s skin. With the selfie, social media sites facilitate a naked
openness of the self as it changes and grows. Steve Roggenbuck’s poetry is the literary embodiment of the selfie. If
there’s a Warhol of poetry today then it’s Steve, who invigorates literature by being Warhol’s opposite.

Roggenbuck’s early poems—such as his online chapbook i am like october when i am dead—mix
utterance, physical sensation, and affective impulse in their representation of the urgency and truth of feeling, much
like Best’s. But what boosted Roggenbuck to prominence was not his poems themselves but the videos he put on
his YouTube account. The first were documents of him reading his own poetry to the camera with some background
music. Later ones had a life of their own as short films. “this is how we live in this world (NICE.. THIS VIDOE
IMPROVED MY WORLD OUTLOOK)” shows Roggenbuck in the bedroom of a suburban home, like so many
teen vloggers. But he distinguishes himself from the masses of YouTube confessionalists with his rapid editing
and his absurdly worded, self-deprecatory invective. If YouTube makes him an object, Roggenbuck eagerly makes
himself abject. “whip me with a shop dick,” he shouts, whatever that means. “bleach my cock pubes white. […] i
want lightning to come down and strike my dick.”

Roggenbuck’s words are emitted in the public spaces of social media like the piss and shit of dogs in a
park. His videos emphasize the bland and homogeneous nature of contemporary interior space—with cuts from the
nondescript suburban home to the standardized retail zone of Target—and bring them alive with his camera and
his mad patter. Roggenbuck is a body against the mass-produced junkspace of contemporary architecture, existing
within it but too gross and weird to adapt to its blank fluidity. In the last third of “this is how we live in the world,”

Roggenbuck goes silent, running with his friends through a meadow near a lake as the wind tousles their hair.
Bodies play in nature and feel it on themselves.

When the notion of “creativity” has been appropriated wholesale by the industries of advertising and
marketing to designate the rearrangement and repetition of formulas for selling products and services—the
corporatization of creativity that has much to do with Goldsmith’s revulsion toward the concept—alt lit recasts
creativity as a primal urge to make something beautiful, not for the sake of making it but for the enjoyment of
it in the context of social being. A couple of months ago Roggenbuck tweeted: “I LOV TO APRECIATE THE
ANIMALASPECT’S OF LIEF SUCH AS SEX, POOP, AND EAT”—making his abject life an aesthetic object, and
vice versa.

With the emphasis on evoking the freedom and immediacy of life itself, the poetry of alt lit can be
bad—sometimes deliberately, hilariously so. But it’s not like Flarf, the intentionally bad poetry compiled from
search results and spam copy. If you accept the periodization of internet history into the eras of Web 1.0 and Web
2.0—I don’t, but for argument’s sake I’ll pretend to—then Flarf and alt lit fall neatly on either side of the border.
Flarf is about going into a wilderness of words and taming its weirder inhabitants in the frame of a poem. Alt lit, on
the other hand, is about being in a community—just as Web 2.0 involves spending most online time checking a
handful social media sites rather than searching unfamiliar places. The social thrust of alt lit is articulated in
Roggenbuck’s ideas about “boosting,” making art in order to incite other people to do the same. Poetry only matters
insofar as it impels others to join in the community; as Roggenbuck wrote in a manifesto: “what we are doing is
bigger than and aside from abstract ideas of literary merit. we are making each others lives better.” Uncreative
writing constantly refers obliquely to the unreadability of the internet—the bigness of the text appropriated in the
work of an uncreative writer discourages readers from actually reading the work, and emphasizes the concept
instead. Language is a material detritus to be “shovelled, reshaped, hoarded, molded… discarded.” Alt lit also
suggests an unreadability through the massive output of writing, because most of the output is lost in the vast and
unruly archive of status updates, tweets, and Tumblr posts. It only matters if you’re reading it as it happens in the
way that conversational speech only matters if you’re physically present when it’s spoken—and that’s why alt lit is
the literature of the body participating in technologically mediated social being. In and against the digital networks
that support it, alt lit’s poetry figures as an everyday function, as regular and as vital as sex, poop, and eat.




Junk Jet: Eternal Internet Stream (Las Pozas) #ETINTERBRO



HANS ULRICH OBRIST: Instagram contribution Eternal Internet Brotherhood Numerology - based on the epiphany day of the Brotherhood 24 - 01 - 2012

HANS ULRICH OBRIST: Instagram contribution Eternal Internet Brotherhood Numerology – based on the epiphany day of the Brotherhood 24 – 01 – 2012

 ceci ceci2

3 years ago Permalink

Ceci Moss’ #ETINTERBRO contribution (text):

In men, all existence is tied in particular to language, whose terms determine its modes of appearance within each person. Each person can only represent his total existence, if only in his own eyes, through the medium of words. Words spring forth in his head, laden with a host of human or superhuman lives in relation  to which he privately exists. Being depends on the mediation of words, which cannot merely present it arbitrarily as “autonomous being,” but which must present it profoundly as “being in relation.” One need only follow, for a short time, the traces of the repeated circuits of words to discover, in a disconcerting vision, the labyrinthine structure of the human being. What is commonly called knowing – when a manknows  his neighbor- is never anything but existence composed for an instant (in the sense that all existence composes itself – thus the atom composes its unity from variable electrons), which once made of these two beings a whole every bit as real as its parts. A limited number of exchanged phrases, no matter how conventional, sufficed to create the banal interpretation of two existing juxtaposed regions. The fact that after this short exchange the man is aware of knowing  his neighbor is opposed to a meeting without recognition in the street, as well as to the ignorance of the multitude of beings that one never meets, in the same way that life is opposed to death. The knowledge  of human beings thus appears as a mode of biological connection, unstable but just as real as the connections between cells in tissue. The exchange between two human particles in fact possesses the faculty of surviving momentary separation.

– Georges Bataille, “The Labyrinth” in Visions of Excess: Selected Writings, 1927-1939, pp. 173-174



Anafi Island, Cyclades, Greece,  2012

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Amalia Ulman
Amateur Boyz (GR)
Andreas Angelidakis
Angelo Plessas
Anthony Antonellis (UK)
Apache Anafi (USA)
Georges Jacotey (GR)
Harry Burke
Helga Wretman (SE)
Jesse Darling (UK)
Jordan Tate (USA)
Miltos Manetas
Mona Mahall and Asli Serbest (Junk Jet magazine
) (TR/DE)
Paolo di Landro (IT)
Petros Moris (GR)
Priscilla Tea (IT)
Rafael Rozendaal (NL)
Rhys Coren ( (UK)
Rozsa Farkas (UK)
Travess Smalley (USA)
Vincent Charlebois (CA)


The first Eternal Internet Brother/Sisterhood Promo used in crowdfunding platforms




Angelo Plessas, Spatial diagram of the 2012 Eternal Internet Brotherhood




INTERNET, by Guglielmo Fabian a happening at the Brotherhood camp at Klisidi beach. Sound by Vincent Charlbois. Contribution for #ETINTERBRO





5 senseless, but eternal one-square-meter maps of Anafi, including the places: Tits, Troll, Dragons, Love, and Internet. Built out of 100s of photographs…

web project by Mona Mahall and Asli Serbest contribution for #ETINTERBRO



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Apache Anafi, a slideshow curated by Nate Hitchcock at a beach cave between Klisidi beach and the port of Anafi featuring works by Marco Mojica, Manuel Fernandez, Sarah Weiss, Emile Gervais, Landon Metz. Contribution for #ETINTERBRO


Painting Vincent Charlebois, a Blackberry Painting by Miltos Manetas, contribution for #ETINTERBRO

Painting Vincent Charlebois, a Blackberry Painting by Miltos Manetas. Created in Aug 2012 at the island of Anafi, during the performance of Vincent Charlebois in the occasion of the Eternal internet Brotherhood, a project by Angelo Plessas



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I ♥ the Universe and the Universe ♥ me, perfomance by Vincent Charlebois, contribution for #ETINTERBRO


Body and Mind improvisation for Artists, video by Helga Wretman, especially for #ETINTERBRO from the headquarters of Arcadia Missa with Ollie Hogan as the “victim”.



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COMMONS Portfolio (Stickers), by Petros Moris #ETINTERBRO. is a selection of SVG clipart collected from public domain depositories. It was compiled as a stickers vector pack that The Eternal Internet Brotherhood participants adhered across Anafi island.


Simulation of a Feeling, a video by Anthony Antonellis, contribution for #ETINTERBRO

Simulation of a Feeling is a virtual scene constructed of dual holographic cubes within a Second Life landscape. From the cubes Thalia Raftopoulou reads aloud descriptions about platonic solids in her text-to-speech voice. The simulation is an experiment in virtual presence modeled after the weird feeling I had while watching the 1999 virtual reality themed film eXistenZ.

Eternal Flash day, animated gif by the young greek artist Georges Jacotey, contribution for #ETINTERBRO

Eternal Flash day, animated gif by the young greek artist Georges Jacotey, contribution for #ETINTERBRO




Here, There and Everywhere, video by Vincent Charlebois, contribution for #ETINTERBRO





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PIGS, part 2, by Amalia Ulman, contribution for #ETINTERBRO
From 12th to 17th August 2012 – 24/7

PIGS (2012) analyses current Eurozone’s meltdown by taking an action in Greece, one of the most affected countries in the EU; contrasting its financial reality with its popularity a

 s a touristic destination, exploring daily attractions and the nightlife of party islands like Kos, Ios, Mykonos, Santorini and the symbolic violence/power enforced by visitors through tourism.

In a workshop format, adapted to the conditions of the Eternal Internet Brotherhood camp, taking place in Anafi (Cyclades – Greek Islands), Ulman introduces other participants into the craft making of thread bracelets, creating an arm band with the acronym PIGS, as a souvenir of the European Sovereign-debt Crisis.

PIGS is an acronym used to refer to the economies of Portugal, Italy, Greece and Spain. The term has been used since at least the mid-1990s as an epithet referring to Portugal, Italy, Greece and Spain noted for similar economic environments. The term became popularized by the wider media during the European sovereign debt crisis, alternatively used as a shortform for Portugal, Ireland, Greece and Spain. The term was denounced as pejorative by the Portuguese Finance Minister in 2008. Members of the international economic press continue to use the term.

WET WWW, projection by Priscilla Tea at the port of Anafi. [scroll down for video]

WET WWW, projection by Priscilla Tea at the port of Anafi.



Beach screening of Piotr Kamlers’ 1983 Chronopolis, a story of “eternity and desire” by Andreas Angelidakis. Contribution for #ETINTERBRO
[Upload with the kind support of the fastest internet in Europe:



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BROTHERHOOD/SISTERHOOD Beachwear by Paolo di Landro and Λαβ Unused. Contribution for #ETINTERBRO




Letters, by Harry Burke,  written whilst on the trip, contribution for #ETINTERBRO

love letter

I’ve decided to write love letters because that’s what you do when you’re in love. I saw that great document today – all text and in a block, from Slovenia, I think. It was from the 90s. So basically, people got together, and they found an old or cheap building, and they inserted a sound system or bands or DJs, and for 36hrs or more they would dance, presumably, make out, get together, find myriad tangents through the throbbing artery of night. And by morning they couldn’t even see each other, just feel under their shoes the concrete, every little pore of it. They’d sleep in the cracks for half an hour, and get up and go again, right back where they started, that firstness again. And that amazing 90s hair, just enough gel still in for that cow’s lip, or curtains, throbbing, clothes that were all sportswear and primary colours. Showing the bottom part of your fist to each other, and pumping it. Chewing your own lips. Smiles that contorted and scarred our faces. Imagine finding someone in that moment, every freeze frame of the artificial lighting their body getting closer, each a different angle, a different record sleeve. And they don’t even look up, you just know as the record needle moves inwards that there’s an ultimate trajectory to all of this, you call it in your molten state a teleology, and in the repetitive stuttering beat on which all life is you hear, every revolution, “Hegel”. Or maybe that’s just the noise in the cracks in the ceiling, or maybe it’s some sort of broken signal, maybe it’s the sound the lights make. You think you hear it behind you, and you turn round, and then she’s dancing with you. All this is anachronistic of course. All these famous spaces are closed down, unopen, all the ravers with jobs and even family. Seagulls flying round them, broken bottles nesting by fences, all the detritus of late Communism, late Capitalism, everything. They go there still though, to this day, maybe once in their whole adult lifetime, just to walk round, slightly underdressed in the consistent maritime wind, thinking that was me once, that was a different me, I can see the ghost of me floating through the floor, those quiet revolutions, on repeat. Or was it everytime a different me? That was the one time it was ever the same me, and I left it there. Or something like that, melancholia, whatever. No one ever thinks, imagine dancing there now. Imagine that moment where you just say, let’s go back to mine. And being there not even talking when you know the whole thing is still going on, Hegel Hegel Hegel, the music melting through you. Just lying there, our heads touching. How can this be love? This is love that’s a small ontological simplicity. Like knowing there’s music playing. And around that, is all of us. I’m sitting by the motorway, on the balcony. I’m sitting watching the motorway moan. And how it snakes off violently, forever. As if Ulysses comes stuttering back, shirt off, on his scooter. Imagine, his chest armored with hair, him smelling of brandy, wearing those tight red shorts and speedo swimming pool sandals. Hey baby I love you. Hegel Hegel Hegel. Writing about love is the most selfish thing in the world. This heat here is unbearable. 42 degrees. Too hot even for the Akropolis. I wonder am I writing love; am I literally trying to write love, is writing violent? The motorway right to the mouth of the river. Ulysses wearing aftershave.

love letter

In the circle where we sit I look at you. We never catch eyes, but I study the edge of your cheeks, the relationship between your eyes and their freckles, the abyss of your shirt collar. I think of nothing in this moment, but elsewhere around me there are sculptors in their studios carving statues for money, hammering on in the Classical tradition. It’s ok though, right, my grandmother had one. Right by the carpet by the electric fireplace. We played lego. We often talk about sex. And I wonder: is it possible to have sex without penetration? Can we have sex without actually having sex? Is it socially acceptable for us to surround each other, it imbue each other, to add colour to each other, but that be all. Guilt for loving you. My guilt reflex for loving. My father depends on my mother. And I remember how empowered I felt when I told someone that my father can’t actually write, and they didn’t really understand it, and I only just in that moment realized. He can’t actually write, like when you write the alphabet. Thank god for computers. And typewritists. Together we talk about sex. So anyway, I was thinking last night, although this might just have been my standing on an Athenian beach in 30+ degree heat: I might have an idea of a contribution for my Embodiment day. So, it would be very low-key, and might probably just consist of an announcement at the beginning. The announcement would be: “This will not be in any way enforced, and I won’t ever remind you or check up on this at any point again, but I’d like to encourage that we kiss each other on the lips as a convivial greeting, or a goodbye. Or at least, I’m just wondering if we could accept it as socially ok amongst each other, between us as friends, and maybe not see it as wrong or weird, and therefore ok if people do it. Depends on what you feel comfortable with. Maybe it will seem the right thing to do at the end of the day, maybe totally the opposite. I’m not sure, but I’ve just been thinking recently, imagine if everyone did it, and it was just normal.” Ok end of announcement, and we all just move on, but the thought’s there, and the intervention’s been made, I think. Do you think that will make people feel really uncomfortable? Or excited? Maybe both. Why? This is just want one of those things that I totally don’t understand, and that makes me curious to think more about it. Maybe it’s just something we’ll start doing in Anafi. When no one even realises it is the best bit. We say hello to each other and kiss, because that’s what I would have wanted to happen anyway. There’s this recurring fantasy of mine: the city, surrounding us, embalming us, rearranging itself around us. When you’re stood in the middle of the road and your phone goes off, and you don’t even have to answer it to know. Us hanging out at Centre Point, knowing we’re on top of each other. They make high-rises becuase they know this, they sit on top of the city and surround it. We serve them canapés. But really it’s us that surrounds them. They can’t leave their penthouse, because it no longer exists, and all around them capital is collapsing, and people are demonstrating, cheering, hating capital. And that moment is when it happens, capital’s collapsing and we don’t even know what is is, we’re in the eye of it all, fucking. Recurring fantasy: my saying I love you. You say nothing but you know.

love letter

Acknowledging the patriarchy. Ok so we know. Ok let’s talk about the male hegemony over the world. Don’t chastise me for writing about this, the point is we’re invisible and should be everywhere, right. We take responsibility for what we do. And how to address this if we’re scared. Talking to a Quebecois about this on a Greek path, hazy Ouzo reality, smash the patriarchy. Us two males walking down a Greek path talking about the patriarchy, drunk. The internal irony. Smash the patriarchy. Future action now. Walking down the path and getting to the bottom, obviously. And there I had love, and couldn’t even talk about it. We’re in control of our own abstract power dynamics, and guess what they’re not abstract. And maybe we’re not male at all, we’re just told we are by the other males, all fragments of the big abiding male. We wish we were. And then all the males have sex. Who would you want to have in the room right now to talk about this? Who would you like to confront? I read the Metahaven book today, and antagonism is at the heart of us and them. Antagonism is at the heart of difference. The patriarchy wants flatness, because flatness is what they’re used to: twitter, facebook, the internet: flatness. The horizontal is a hierarchy. Organic foods for everyone, right. The dude abides. Nowhere else but Greece, and the gays with all their chests out, and my lazy, wandering eyes. Eye fucking because you couldn’t do it in the industrial era. My latent suppressed homosexuality. The party at the top of the hill tonight. Capitalism reduced to just describing things. Crisis. I wish you were here. I wish you were here and you are. Sleeping next to you, occassionally kissing you, wishing I could speak more to you. It’s really absurd, us sleeping together and I’ve been reading Ulysses recently and all I had in my head in the morning was Blaze-boiling Blazes Boylan, looping and repeating. And as that recurred, I got ever more dehydrated, dirty, dry. Language spinning around us, and all these letters just to tell you that we slept together. The point is that I can’t speak to you directly. Our world is a catalogue of window frames, it’s you outside mine. The point is that we built the frame together. Lol imagine love poems in 2020. I want to fly with you on Concorde. I think this was originally a group discussion, but I’m not sure how to initiate things here, apart from in secret ways, hands touching in the sand. Instead let’s paint each other’s bodies, and be together in the future. It’s exhausting here; I’ll sleep with you.

love letter

Alex Ross’s Eltham Open opens tomorrow at Gerald Moore Gallery, all the way past Brockley. It’s open for one day, and it features Julia Tcharfas, Samara Scott et al designing mini golf holes. These are then played by the viewer/participant. All this is part of their Summer School, which is art and education in August. I write about this because I couldn’t avoid it on facebook. Obviouly I’ve come to Greece to get away from it all – pure escapism – but still. I can’t help but want to keep up. A friend’s event, attended by friends, being advertised by yet more friends. Hashtag fomo. I guess i would have gone if I could. I think these letters are the place to say the most suppressed, most obvious things. Him sitting there in his leather jacket, amazing. I never did send him my dissertation. He never emailed me. But the Eltham Open is interesting in its own way. Allan Kaprow, the father of the Happening,described in 1958 the Participatory Event as, ”A game, an adventure, a number of activities engaged in by participants for the sake of playing.” The Eltham Open, when taken in these terms, is undoubtedly a Happening. It is openly and ephemerally Participantary Art, long after it ceased to be cool. It is perfectly, quirkily, Hayward: if this was once art on the ‘outside’, it is now, quite unabashadly, the suburbs, replete with its own cafe. Yet if the original Happenings developed in historicity with ’60s Participantory Politics, and in opposition to what we later recognise as ‘Spectacle’, Alex’s evolution of it seems complicit with a more insiduous and lurid reality. My point being: how can we read Kaprow’s words as anything but the mechanics and metrics of gamification? The ’60s seem so quaint and beatnik-ish today, all their anger so misdirected and irrelevant. There’s no longer such thing as the Society of the Spectacle. But instead there’s something much worse, something more everpresent and pernicious. Maybe we call it the Society of the Social, maybe we even give it capital letters. It’s no longer the image that’s the breeding ground of capital, but the way we share, interact with, and even befriend these images. It’s the process of interaction itself. The thing that happens when we have internet in the town square by the school by where they filmed the man playing bagpipes is find each other on facebook. I tell everyone I hate facebook, still around us we’re on facebook. And right now I’m telling my friends about it. Game over. Gamify insurrection. Cycling by the river, not even allowed to cross the footbridge, winning the game of rock/paper/scissors. I was taking part in a cycling protest, and wasn’t allowed to cross north of the river, even on my own, and I lied about it and they made me play rock/paper/scissors so I could go home to my home in Manor House which conveniently I didn’t have any documentation proving anything about, and I won. And then so frustrated for a week, drinking alcohol and talking about it, hating it, and then of course now writing these love letters. Vincent said a really good thing: the spectacle made relational. Of course Alex knows this, and this is the secret beauty of it all. How can we escape this double bind? Hard to say, but not by not playing it. And in a facebook that’s breaking down, post by post and image by image collapsing in on itself, its ubiquity, I can’t even access how the event was shared.

love letter

I’m so privileged because I know most people won’t even look at these, they really won’t care, that’s the point of calling them love letters. This one’s purely for you, everyone else can stop reading now: stop reading. Imagine writing letters for other emotions. Distrust letter: I fundamentally distrust you, just like I distrust alt-lit. Ultimately, everyone else will be repulsed by love letters. Maybe that’s part of it too – it’s total rejection otherwise. Chris Kraus loves dick? Everyone on this island is naked, Angelo says. Everyone here should be naked. On the nudist beach. Nudism implies considered rejection of civilisation. It is one of the clearest forms of body-as-context. You wear no clothes because you know that surrounding you are laws that, were they written, would be 9000 years old, maybe more. It is the ability to disconnect that shows we are connected. And so the Greek man who walks down the beach nude and goes for a swim carries every Hewlett-Packard processor in every provincial business park across the world. It is society that surrounds him, that makes him fully clothed. Our body is a network of occurences; the boat we arrived on, the tent we sleep in, the plane that connects me to you: all this is part of our body. And so I glow when you touch me. Imagine Gilles Deleuze sitting here, making African pyres on the beach. Around him, all of us, is a primitivist ceremony. Afterwards we go the taverna for dinner. Their ashes, that’s where I hide you. In their shadow, we’ll connect each other, because that’s what we’re told to do. When we fuck each other, that’s when we know we have bodies. Our body is a network of occurrences. Can we change it? Are we trapped? What are we trapped in? The present order was founded on desire. Desire is the death moment, is where we die. I think I decided to write love letters because of their some spatio-temporal peculiarity. As in, these are desires trapped in a peculiar and small fold; disconnected and fully, eternally, nonlinear. They are memories that I blemish in recording them, send outwards, anywhere, and disown. At the same time you pick them up, at whatever small juncture of your life, and they have material impact on you, on your life. You might even see imminently after, but I’ll have disowned them, attempting to impose linearity on the context that surrounds me called normal. We’ll know therefore that it’s a missed connection, a small slippage, but also a shared territory. Does that make them any less or more real? They’re still a shared territory, a more beautifully latent slippage.  Being on holiday feels like this, storing up possible returns, future ignition to any number of the looping and multilinear contexts with which we clothe ourselves. And after all this, anyway, I’m still sat on the nudist beach, wondering how to have sex, wanting to swim round the corner and have sex on the secret beach there, like an otter glistening in the sand, wanting to talk about sex and have sex by just talking. Foucault said something like this, we should always analyse our present moment, because these are the invisible power structures that create us. He also said that recognition of power is just as significant a development as the recognition of slavery, but it might take just as long to understand and abolish. His students trailing him as he walked into the sex shop. My falling asleep straight away, my secret wholeness, my embarrassment, our perfection. Imagine seeing each other and not even talking about this.



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