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Collusion and fraud of every kind vitiate all acts which are infected with them, and render them void.
--b--
The 'Lectric Law Library's Lexicon On
* Collusion *
http://www.lectlaw.com/def/c251.htm

"Yesterday this picture was worth millions of guilders, and experts and art lovers would come from all over the world and pay money to see it," he declared after his exposure. "Today, it is worth nothing, and nobody would cross the street to see it for free. But the picture has not changed. What has?"

--Van Meegeren, the forger of Vermeers and longtime Nazi supporter who sold a fake to georing that almost got him hanged --becuase it had been thought by the Ducth pre and post war to be "real, and which he had to prove was fake to save his neck----so that he managed to turn his being a traitor into being a "hero" a--nd is now being exposed as in actuality a far worse traitor than accused of being before--

ARTS / ART & DESIGN | August 6, 2008
Coney Island Sideshow Has Guantanamo Theme
By ARIEL KAMINER
The artist Steve Powers has opened the new "Waterboard Thrill Ride" in the shadow of the Cyclone and a mere corn dog's throw from Nathan's.

Downstairs from her glittering Chilean salon, there was a torture chamber

http://www.mcclatchydc.com/world/story/46070.html

Helen Hughes / MCT

Writer Pia Barros tells about the literary meetings in the home of U.S. citizen Michael Townley and his Chilean wife Mariana Callejas who was indicted in the death by car bombing of General Carlos Prats and Mrs. Prats in Buenos Aires in 1974. | View larger image

By Jack Chang | McClatchy Newspapers

SANTIAGO, Chile — During the darkest years of this country's military dictatorship, Mariana Callejas was an up-and-coming writer and the hostess of the era's most glamorous literary salon.

Chile's leading authors trekked up to Callejas' hillside mansion every Thursday night to talk literature, have a few drinks and sometimes dance until the next morning. The salon offered a respite from the fear and violence of Gen. Augusto Pinochet's Chile, in which nearly 3,200 dissidents died or disappeared at the hands of government agents.

Writer Carlos Iturra, who attended the meetings, said in an e-mail that he'd always remember those nights for "the good writers who were formed there" amid the "dances, drinks, laughs and debates."

Horror lay just below the glittering surface, however, as it often did during the 1973-90 military dictatorship.

Callejas was more than just a writer; she was an agent of the DINA, Chile's dreaded National Intelligence Directorate. Her then-husband, U.S. citizen Michael Townley, one of the U.S.-backed Pinochet regime's chief assassins, later was convicted of setting off the 1976 car bomb that killed former Chilean Foreign Minister Orlando Letelier and his American colleague Ronni Moffitt in Washington.

As the literati danced and debated upstairs, Chilean intelligence officers were downstairs torturing dissidents and manufacturing the toxic nerve agent sarin in a secret laboratory.. . . .

"Callejas' salon has lived on in Chilean literature. Chilean-born writer Roberto Bolano ended his celebrated novel "By Night in Chile" with an account of the salon and the story of Callejas and Townley.

Bolano imagined the Callejas character, years later, wandering around the empty mansion, shunned by her friends and abandoned by her American husband.

"The house already didn't seem the same: All its splendor, a nocturnal and unpunished splendor, had disappeared," Bolano wrote. "Now there was only a house that was too big."

for the rest of article and several links, use the link here just below article title

Book says White House ordered forgery

http://www.ronsuskind.com/thewayoftheworld/

http://www.politico.com/news/stories/0808/12308_Page3.html

Book reveals secret Iraq mission and more

Suskind unravels what he calls 'America's diminished moral authority'

http://www.msnbc.msn.com/id/26012717/

Collusion: International Espionage and the War on Terror (Hardcover)

by Carlo Bonini (Author), Giuseppe D'Avanzo (Author), James Marcus (Translator)

Drogin, Bob (2007). Curveball: Spies, Lies, and the Con Man Who Caused a War.

The Italian Letter: How the Bush Administration Used a Fake Letter to Build the Case for War in Iraq (Hardcover)

by Peter Eisner (Author), Knut Royce

The Multimedia "New Chilean Poetry" of Roberto Bolano's 9/11/73 Chile-
& the Mutitmedia "New Extreme Experimental American Poetry" of post 9/11/2001 USA

(Americans & Chileans of the "New Poetries" actually "met in person" in the house described in this article, which quotes from Bolano's fictional re-creation of them in By Night in Chile.)

In the first lines of the Introduction to his Torture: Cancer of Democracy France and Algeria 1954-62, Pierre Vidal-Naquet asks:

"Can a great nation, liberal by tradition, allows its institutions, its army, and its system of justice to degenerate over the span of a few years as a result of the use of torture, and by its concealment and deception of such a vital issue call the whole Western concept of human dignity and the rights of the individual into question?"

Naquet's choice of words indicates a sequence of separations not only in acts, but in language also. "Allowing" a "degeneration" indicates that what is being brought into the institutions, the society and its language as a result of torture, is a method of separation from the concepts of human dignity and individual rights.

         In order for this separation to exist, language abandons "meanings," "grammar" and "referents' in their former senses as a method of concealing what has been "left behind." This allows for the redefining of everything in terms of denying humanity and rights to a "new" class of beings--the non-humans, in the USA historically American Indians, Persons of Color, Anarchists, Communists, Witches--now designated as "terrorists," "enemy combatants," "detainees," "Islamo-Fascists," and even some "illegal aliens," all of these "groups" trailing in their wake an ever broadening mass of persons "suspected" of ever more "crimes" directly or indirectly "linked" with them in no matter how nearly non-existent a way.



       The "avant-garde" ("avant" these days)--separates from its original sharing of the term with the military, although historically the first avant-garde of the 20th Century, Italian Futurism, and soon after Dada, both militantly made explicit this connection--one For "War, the world's hygiene," and one Against, an "Anti-Art" also Anti-War along with "a BIG NO" (Georg Grosz) Anti an entire "civilization" which it was opposed to precisely because of the "rationale" of War as "Glorious, Patriotic, the Defense of Civilization."

In The Peloponnesian War, Thucydides states:

"To fit in with the change of events, words, too, had to change. What used to be thought of as a thoughtless act of aggression was now regarded as the courage one would expect to find in a party member; to think of the future and wait was merely another way of saying one was a coward, any idea of moderation was just an attempt to disguise one's unmanly character; ability to understand a question from all sides meant one was totally unfitted for action; frenzied violence came to be considered an attribute of a real man."

          On the one hand, an "ability to understand a question from all sides," and on the other, "frenzied violence" as the "attribute of a real man."

           Dadaist Johannes Baader, Ober Dada of Berlin, writing in Die Freie Strasse, Berlin, 1919, expresses beauitifully Dada's "ability to understand a question from all sides:"

         "A Dadaist is one who loves and embraces life in all its variety, and feels and knows that it is not only here--but also --there, there, there! ("da, da, da")

          Marinetti's Manifestos celebrate Speed coupled with Violence as the direct "transport" to "War, the world's hygiene," in which all sides of a question may be "cleaned away."

          Naquet's question asks--is it possible to live as a part of a society which practices torture, yet apart from this aspect of it? Is it possible to claim a separation between the "poetic/Artistic" language one uses and that used by the Power & Institutions of the "society at large?" Or is this not in itself part of the "concealment and deception of such a vital issue" that questions human dignity and rights, and that one professes to be apart from?

Thucydides writes of the "ability to understand a question from all sides," yet is this possible when language attempts to create separations, to be apart from what language is a part of? In this sense, the separation of the term "avant-garde" from the military connection and connotations, is an attempt to disassociate words from "meanings," "origins," and "referents," as well as dissociating the breakage of syntax from the Militarism and Fascism of Marinetti, the first to perform such feats in 20th Century Modernism.

         To separate and compartmentalize language, to divide it into various seemingly discreet and disparate sections, alcoves, groups, formations, neighborhoods, would for Thucydides and Naquet both indicate the efforts of deception and concealment. "To not let the left hand know what the right is doing."

Ironically, it is this very separation from "original meanings," "referents," syntaxes, and the uses of extreme secrecy, deception and concealment that the American government and language has been since 9/11 far more than ever before diligently at work on These shifts in Poetic/Artistic language and that of Power began taking place in 1980, when Ronald Reagan became President. As a former actor and leader of McCarthyite anti-Communism in the Screen Actor's Guild, and a popular spokesman for energy/media giant General Electric, Reagan was perfect for the part of "Great Communicator

Reagan, after all, during his 1984 re-election campaign, effortlessly turned the surging anthemic anti-Vietnam War song "Born in the USA" into a Patriotic Hymn, and so much so that only the chorus was taken notice of, while the rest of the lyrics vanished as it were into meaningless sounds. Even as meaningless sounds,these full blast conveyed the "fervor' of the Patriotic chorus, "Born in the USA," became the endlessly heard ringing endorsement of the Flag and Our Great Communicator. (Who proved his Greatness by completely co-opting the song already known to millions.)

         Instead of standing for the "Past," of a lost war and its "anti-American" opposition, "Born in the USA," without changing a word or note has become the anthem of the Ultra-Patriotic "New Morning in America."

        In a bizarre way, this "changing nothing so that everything is changed," a reversal of Lampedusa's famous phrase "to change everything so that nothing is changed," is also a doubling of Borges' story "Pierre Menard. " In that tale, a very obscure and precious French Belle Letttriste finds a way to "write Don Quixote" in a "new version" which is word for word the same as Cervantes'. According to the narrator, what appears to be an exact copying is in fact the sign of the immense "supirority" of Menard's version. For in Menard's though each word is the same archaic and colloquial Spanish as Cervantes', repeated in the context of Menard's being of a different era and of a different nationality, cultural milieu and language, the words have all greatly changed in their meanings and become infintiely "richer."

        The concept that the words and most basic phonemic and morphemic units of langauge can remain exactly the same while now incorporating very different and even opposite ideas, makes it possible to arrive at another aspect of Naquet's "degeneration."

The "degeneration" Naquet writes of can be found studied in great detail in George Orwell's appended sections to the novel 1984, in which he describes in great detail how "Newspeak," a new language which creates the ultimate "double talk" by subsuming opposites into one term alone. In "Newspeak," the aim is towards a continual reduction of vocabulary, so that ever more meanings, ideas, emotions, can be assembled within a single word. In a sense, it is the movement of language towards becoming the equivalent of digital or Morse code, which require only two "signs" to "say everything."

        "Born in the USA" comes to stand for a vast set of concepts, images, for a massive nostalgia embodied in popular culture, for the American dream, the Flag,Prayer, Saluting, the Army, War, all of it a "Hunk of Burning Love," in the words of an Elvis hit. Amazingly, and anti-War song about a Lost War is now the Marching Music for New Wars and the Morning of New Victories Without End. This version of "Born in the USA" prepares the way for "9/11" which immediately comes to stand for a New Sacredness, a "Sacred Ground," more Sacred than any previous in the American cosmology. And through this Sacred Ground Zero, torture is "allowed" to enter and begin its cancerous work throughout all aspects of American existence. Having entered in this Patriotic manner, torture wraps itself in the Flag and becomes part of the daily routine of American life, "as American as Apple Pie."

         Another method of creating such "separations" in an accelerated way is simply to "skip" the more time consuming aspects of creating the chasms of separations, and simply to "forge ahead" by the act of forgery. In The Way of the World, on sale just this week, Ron Susskind details the White House's ordering the CIA to forge "Iraqi" "intelligence information" that links Saddam with Al -Queda and "proves" the presence of the never found WMDs in Iraq.

     Susskind's book joins a trio of earlier books dealing with other forgeries which the Bush administration used in the rush to War.   There is Curveball, the history of the desperate, depressive, alcoholic Iraqi defector turned "informant" who provided German Intelligence with information they shared with the Americans, while warning them it was highly dubious. This "information" was used to produce the power point presentation and painted "artist's conceptions" used by Colin Powell in his UN speech that "proved" the existence of bio-chemcial weapons and WMDs making ultra-uergent theWar with Iraq,

Then there are The Italian Letter and Collusion, an excellent gallows humor   account by the Italian jounalists, which both attempt to sort through the increasingly bizarre and murky depths from which emerged the TWO versions of the forged letter which "proved" Saddam had purchased yellow cake for making nucelar weapons from Niger.

        Two new books--The Forger's Spell and The Man Who Made Vermeers-- are fascianting and damning explorations of the life and career of Van Megeeren, the Dutch forger of Vermeers who sold one of his fakes through middlemen to Hermann Goering, These works produce the most in depth examinations yet into the the "fascist connection with forgery" that existed among many practioners of the period between the two World Wars. Jonathan Lopez' The Man Who made Vermeers is an espcailly throrough examination of Van Megereen's life long involvement with forgery, criminal rings and his very early --1928--beginning of a love affair with Adolf Hilter. Van Megereen even ran a self published, very elaboarte produced Art magazine, printing many of his views on art which echo almost exactly the Fuhrer's observations on modern art in Mein Kampf.

         Forgery, in all these books, is at the center of Power's need to create out of a vacuum a "New Reality." So that the WMDs necessary to go to War with Iraq will actually and most dangerously exist, the vaccum of their non-existence meeds to be filled up and covered over with forgeries of evidence, with doucments containing words which are "verified as authetnic' by the proper "experts," just as are the vermeers of Van Meegeren, which help to fill the huge vacuum due to the sparsity of Vermeers in existence.

         In this series of the shifts of language Thucydides notes, art and writing are used to create an "equality" between words and their opposites, so that as in 1984, War=Peace, Love=Hate, Freedom=Slavery. By extension, the"=" signs make one think of L=A=N=G=U=A=G=E writing and its various tactics to make "strange" and "resistant" words which are also supposed to be without "original" meaning and seperated from their referents.

      The use of this Form of language writing is supposed to "combat Capitialism" which is what ""structures grammar." Since linguistically there exists no evidence of this assertion at all, one finds a sophistry or fallacy, a fiction, "forging" as it were the raison d'etre for the tactics. Although treated as producing a "radical' writing, because of this sophistry as its basis, language writing funtions in actuality as a writing completely supportive of its purported opposites. An effort to "reverse the vectors and directions of writing" instead has reversed on itself. And so , indeed, language writing performs the "Newspeak" formulae of the opposites being equal and the same, and finding themselves becoming one. In this way, while appearing to be "radical," one is at the safe time "Safe" and carries on writing and functioning at all levels of the Institutions where it is taught and dessiminated.

When the images of Abu Ghraib first began to emerge as a Scandal, Rush Limbaugh famously launched his counter-media campaign in which the actions of American soldiers torturing and humiliating "detainees" were treated as nothing more than the good, clean fun of Fraternity Pranks. Nothing remotely as rough going on at the Prison as at some of our Frats' hazings! Where many saw horror and shame, Rush saw fun and games, nothing more than just good old God fearing, Grade A red-blooded American horsing around and hi-jinks. In fact, he found many of the goings on down right hilarious, Kind of like the films Stripes and Animal House scratched and mixed into a prison flick modeled on Hogan's Heros.

Actually, I've been waiting for water-boarding to became the next fad in Fraternity hazings and gallery/museum Performance pieces, along with various other techniques and situations being adapted for everything from high school musicals to High Art Theater. Like the 1950's American fad for staging Waiting for Godot in prisons, one can imagine touring Torture Companies traveling with ambiguous productions the "Prison Circuit," along with Johnny Cash impersonators recreating the Man in Black's legendary Folsom and San Quentin shows.

        Perhaps a first small glimpse of this can be seen in the NY Times article about a Coney Island "peep" style way of presenting Guantanamo, just down the way from the video games for killing Osama Bin Missing. Echoing Rush's response, a young mother, an American now living in Israel, finds the little show "hilarious," as the artist works on some adjustements inside the torture room, his 15 month old baby perched on the detainee figure.

Fairly well funded with grants, the artist says he had originally thought of having the waterboarding performed on actual humans,with spectators taking turns waterboarding ecah other. In the end, he decided to err on the side of caution, and the the sole figures involved are animatronic. The lifesize robot figures, seen through a barred window, preculude any "accidents" happening. You'd probably have to pay a bundle for insurance, in case one of your customers, like an unknown number of detainees, wound up dead during the fun. Dying with laughter, no doubt.

         The article makes it all seem very homey, near to Nathan's, surrounded by hot dogs and games. Far from being "controversial," the little show seems "perfectly normal," just as is one of its components, the taking of an informal "survey" of responses by journalist and artist. The "banality of Evil" turns out to be just another "amusement park exhibition," no more out of the ordinary than the corn dogs and freak show next to it. The idea that a human being having extreme pain and fear of drowning inflicted on them in this setting seems "foreign," far away. To ask, as Naquet does, that the torture being shown might seem to " call the whole Western concept of human dignity and the rights of the individual into question" seems so incredibly separate in this setting as to be "outlandish."

          To think in this way exemplifies Thucydides' "the ability to understand a question from all sides meant one was totally unfitted for action." for   ;"frenzied violence came to be considered an attribute of a real (American)." Paradoxically, by displaying the exhibit in such a popular, public space where there are a great many children, the artist demonstrates the "right out in the open" methods the Government uses in "its concealment and deception of such a vital issue." To expose to the light of day "toy" torture, is to "render" any questioning practically useless, if not ridiculous or "hilarious" as the young mother finds it. After all, one assures oneself andone's child, 'it's just a toy, a game, after all!"

         For some time, observing and questioning the shifts in language and images exponentially accelerated and "crossing the line" since 9/11, I having been working with hoping to find a way of re-linking things abandoned, separated, torn apart, towards developing some expression of the "shock" of this suddenly imposed and greatly changed American reality

One day over 3 years ago a book arrived from an artist friend, Distant Star, by Roberto Bolano. I had not been so blown away by a "shock of recognition" with a book in years, Soon after a friend sent Bolano's By Night in Chile. These two works opened the way towards the Walls series of paintings of the last years and the ongoing annals of "The New Extreme Experimental American Poetry."

           A basis of the method is to re-link directly the term "avant-garde" with the military and all its range of Security and Surveillance spinoffs, along with the Walls virtual and concrete which are part of creating the ongoing reality of separations
           Inspired by Bolano's works, I realized also another reason for the "shock of recognition" experienced on encountering them.
           The Ground Zero of Bolano's life, and that appears in these two little books, is also a 9/11-------

9/11/1973, the day of Pinocohet's American backed coup, and which introduced for the first time the "Shock Doctrine" economics and tortures Naomi Klein so powerfully elucidates in her book by that name.

So it is that Bolano's work concerning the "New Chilean Poetry" and "Nazi Literature of the Americas" have inspired and spurred on many aspects of the ever opening "New Extreme Experimental American Poetry."

In Bolano's Distant Star and By Night in Chile, a nation's Poetry is presented as another way of creating and using "measure", with which to gauge what happens with and in language suddenly living inside a Fascist State.

The radical shifts in the "new State of things," changes greatly what is permitted in terms of content and "meaning." This literally & literarilly forces confronting language in terms of Form, with the concept that via Form one may separate writing from the State and its actions, and so continue "MAKING IT NEW" or "innovative, radical," in a reactionary environment. Operating in a Poetry of literary and literal constraints, in which many of the competition are, euphemistically, "no longer with us", Formal shifts become proportionally more dramatic the more of the "space" of the Poem they "take up." In what ways & Forms then, and by what means, do Poetry and Writing in such a society make possible their own--and the Poet's-- co-existence with torture, secret prisons, disappearances, mass murders, censorships and the support of similar regimes routine?

Among the methods used are that of separation, in the sense that the spheres one moves in are kept separate, as are one's Forms, from the "Disappeared" aspects of life and writing, so that one no longer notices that they are in fact "gone." The separation and compartamentalization of Forms and language "rearrange" as it were the floors, rooms and interior spaces and furniture of Emily Dickson's idea of Art as "a House that tries to be Haunted," as opposed to Nature, which "is a Haunted House."

"

Even the House of Art, however, has Foundations, cellars, a "dark underside," that must be kept as "out of sight" and hearing as possible. St Augustine wrote that when people plan to make a great and lofty building, they need also to make plans for a Foundation. "And those who lay the Foundation are forced to descend into the depths."

In Distant Star, the aviator-poet Carlos Weider creates the "New Chilean Poetry" as a series of "stages" of "development," leading from what may be plagiarized poems to Sky Writing to the private exhibition of a room whose walls and ceiling are covered by the arrangement of hundreds of Polaroids of tortured, mutilated bodies set against eerily similar backgrounds, arranged in grotesque mannequin poses,with some of the victims seeming to be, against all odds, still barely living. Among these the novella's narrator reports that there are a great number of the students and young poets who have recently disappeared from their usual haunts.

Weider's Atrocity Exhibition proves too extreme for even the Pinochet military officers to stomach, and Weider is forced to go "underground," his work consigned to appearing in the clandestine publications of Bolano's book of Borgesian "Imaginary Beings," "Nazi Literature of the Americas." (Distant Star is an enlargement of the final "chapter" in this recently translated volume.)

Weider's "problem" is that he "states the obvious" in presenting the condoned tortures, disappearances, sky writings of Opus Dei slogans, plagiarized poetry presented as "original," all of which "make Visible" as a " triumphal" State of the Art Art of the State all those things which the State which to keep "disappeared' into the realms of the "Secret" and the "Invisibility" which are its foundations.

These Foundations which Poetry is to separate itself from though declaiming and dancing on the floors which are the ceilings of the Foundation, create the truly grisly final scenes in By Night in Chile, in which Emily Dickinson's idea that "Nature is a Haunted House, and Art a House which tries to be Haunted," is put severely to the test.

In By Night in Chile, the Opus Dei slogans of Weider's sky written "New Chilean Poetry" forced to go "underground," are "recalled" in the Opus Dei narrator's depictions of that "underground" as the secret Foundations of Official Chilean Poetry.

The "New Extreme Experimental American" aspects of Weider's "New Chilean Poetry" as the Secret Foundations of the officially sanctioned "avant-gardes" of Chilean Poetry in By Night in Chile are connected with the aid of an American married to a Chilean writer in whose house the "Hauntings" of Emily Dickinson's House take on another aspect entirely.

This American figure now works no longer for others and indirectly for the US, but directly for the US itself, and so 9/11 in Chile repeated as 9/11 in the US, presents scenes similar to those in Bolano's Chile-set works. Today, the "official" "avant" and "mainstream" American Poetry repeat the "separation" of the Literary Salon floor which is the ceiling of the "New Extreme Experimental American Poetry."

As the article on the Lioterary Salon above the torture basement has it:

Bolano imagined the Callejas character, years later, wandering around the empty mansion, shunned by her friends and abandoned by her American husband.

"The house already didn't seem the same: All its splendor, a nocturnal and unpunished splendor, had disappeared," Bolano wrote. "Now there was only a house that was too big."

Today the question of torture, as Naquet wrote, confronts Poetry, writing, all the arts, in terms of human digntiy, freedom freedom and individual rights.

"The New Extreme Experimental American poetry" is my own "book of Imaginary beings" made also with "real" beings, events, sites/sights/cites
in which the original Military and Security aspects of the term "avant-garde" are
rejoined with their Artistic and Poetic "separations."

In this way, one re-joins the separations of the "avant-garde" with its military origns, and the foundations of the House of Art with its floors. For, as it is said, "a House divided agaisnt itself cannot stand."

Otherwise, as it is now, the House of Art and its society become Naquet's egenerating cancer ridden society of torture, and use the word-shifted language of Thucydides and Orwell and the forgerings, doublings and reversals of techniques borrowed from poetry and the arts and made use of as technologies of coercian and control. A simple test to give a rough idea is to listen to and read American "news" reports, especially regarding the Middle East, and crtical, cultural, artistic poetical productions considered "daring" or "innovative--

and for each "key word"--say instead its opposite. Only when one begins to read in this manner does the House of Art appear as a structure in which all floors and the foundation exist togetehr in one Structure, hidden in plain site/sight/cite. And perhaps in the awareness of this Total Structure, a real resistance across all aspects of existence may begin. Otherwise al that change performs is a kind of feng shui rearangement of inteior decoatings, that works with the word-furniture-and-plants "to change everything so that nothing is changed."

Some other relevant links--

David-Baptiste Chirot: "Waterboarding & Poetry"
Wordforword #13 Spring 2008
(also has Visual Poetry by chirot)

Poems from Guantánamo
The Detainees Speak
David Baptite ChirotNo
KAURAB Translation Site