D I U e m n s a i c g v r i e 1 6 i n r p a c t r i i y t o y n s of an 19 october 94 As long as we live in dreamtime, there can be no renovation of poetic language, no matter the volume of manifestoes and interventions generated in the literary machine. This dreamtime is the narrative performance of America, of the American nightmare world of technical efficiency and equality. The American Dream is a two hundred plus year-old piece of performance art that has never stopped performing, a situation that has never been ended nor addressed, because in the end it is always addressed to the same destination: never to vision, always to nation. In a land where all are created equal, any creativity (and here we mean actual creation, poetry, vision, act) can only be a form of idleness, of play that occurs only under the auspices of work, of production of the means of subsistence. In a land where quality has been banished at the outset -- and this can be the only meaning of America, the declaration that there will be no quality, only equality -- except as a function of a drive towards equalization that is coterminous with profit motivation, in such an America there is no artistic production that is not instantly appropriated and marginalized. The dream of equality, of egalitarian and democratic ideals, was an end to art as a force of creation by always dreaming the end of art as creation: all ends are calculated, all art is product, all waking is truly this dream. And in a dream nothing one does matters, in a dream the body and mind are always acting together, and thus, in reality, never truly act together. In the American dreamtime, we have the "freedom" to think anything we want, but only because anything we think will be equal, that is, equal in doing nothing (equal not to the real itself, but only to dream). As American, poetry will never have vision, will be only dreaming. Equality does not necessarily mean freedom. The so-called "Founding Fathers" replaced poetry with simulacra -- and here we select this particular history as only the most nationalistic and patriarchal of all the performative constraints binding the poet. To make it new, we must shape and shake the mind and the body, awaken the poet, who must roar at history, who must claim a space that is visionary before being national, creative before being equal, bodily before being a citizen. --Rocketmensch My point is that the hippie-yippie syndrome was no more than another spectacle which fed off of real events, at the expense of those events. Nor do I mean to make a distinction between this movement, or the beatnik movement--the spectacle movement, hoola hoops, baseball, the ecological movement, the 'bump,' because in the final analysis all of these factors are perceived in the same vibrational context. I am saying that the spectacle- diversion syndrome is what America has rather than culture. * * * The New York post-Ayler movement cold best be understood as the movement that solidified the dynamic realignment changes that Coltrane, Taylor, Sun Ra and Coleman's work brought forth. That is to say, the progressional continuum of the creativity brought forth in this cycle could vibrate to the ideas of one of these four musicians.... The fact that the New York movement represented the first composite continuum to deal with the realness of what this change would mean in 'actual terms', cannot be lightly acknowledged. All of the subsequent changes that later occurred in the music are directly related to the work done in the early and middle sixties by the post-Ayler movement. On the physical universe level the first manifestation of the affinity insight principle could be viewed with respect to the consideration of 'definition.' For the composite thrust of the post-Ayler movement would move to realign their activity with what was true for each person's individual perception of sound logic (fascination) rather than one prescribed way of being. from Anthony Braxton, TRI-AXIUM WRITINGS, volume 1 I or I would assert that world culture now must go to school to musicians of the post-Ayler continuum, Anthony Braxton formost among them. If Mr. Braxton's writings seem to you awkward or unbeautiful, look again. It is for us to learn the language. --Thus, Albert or Hubert Readlist, The Last Days of the White Race Radio Free North America, 10 October 1994 A brief slave trade route! AfriKKKa------------|-------------Haiti----------|--------AmeriKKKa | | slavery at most | slavery, first or | slavery, second or only first degree | second degree | third degree processing, processing | processing | trauma | | --------------------------------------------------------------------------- | | Least submissive | More submissive | Most submissive to white authority | to white authority | to white authority --------------------------------------------------------------------------- | | Most conscience | Conscience of culture | Least culture conscience of culture, self | retains some religion, | christianized for slavery community, language | some language, name | name changed, language name, religion | weak family bonds- | forbidden, religion strong family bonds | if any | forbidden, family | | destroyed --------------------------------------------------------------------------- --BAX D I U invites you to send your "course" desciptions and other descriptions please! c/o the logic of snowflakes cf2785@albnyvms.bitnet