Female Choice

Female Choice from Todeskino Collective on Vimeo.

pas une image juste, juste une image (JLG)

pas une image juste, juste une image (JLG)





for the biological term "Female Choice" meaning sexual selection see:
http://en.wikipedia.org/wiki/Female_choice

I_N_F_L_A_T_I_O_N

1. CG Jung calls "Inflation" a dangerous overwhelming break-in of archetypic contents from the collective unconscious into the human consciousness with the possible result of psychosis

2. "Inflation", a cosmologic term, see http://en.wikipedia.org/wiki/Inflation_(cosmology)

3. "Inflation", an economic term, see http://en.wikipedia.org/wiki/Inflation

4. "Inflation", Hans Richter calls his experimental avantgarde short film from 1928, "a counterpoint of declining people and growing zeros"

5. "In God We Trust" (2010) by Todeskino Collective, T.C., an experimental avantgarde digital video, starring the one dollar bill, George Washington, the eye in the pyramid etc. and the x-ray watermarks of the human body, "In principio erat verbum et verbum erat apud deum et verbum erat deus." (Joh. 1,1)

Sin obreros / Sans ouvriers / Ohne Arbeiter

être de gauche selon T.C.

Inter Sexual Prosthesis

2 real reels


Inter Sexual Prosthesis von Todeskino

no(r)way

"un espiritu libre no debe ser en esclavo"
(Roberto Rossellini)

93
dead
thelema/agape

un espiritu libre no debe ser en esclavo...
conceiving things in images western culture has to learn from the east
before it's too late
TC

http://www.youtube.com/watch?v=LQkH8UvjIN8

look back in anger

chew your anger and swallow it into bits and peace ass
kool kcab ala
TC marranes

„Der Jude ist immer Ursprung einer doppelten Infragestellung gewesen: der Infragestellung des Selbst und der Infragestellung des ‚Anderen’. Da ihm nie die Möglichkeit gewährt wird, aufzuhören, jüdisch zu sein, ist er gezwungen, die Frage seiner Identität zu formulieren. Daher ist er von Anbeginn mit dem Diskurs des ‚Anderen’ konfrontiert, und oft hängt sein Leben davon ab. […] Mir wurde klar, dass ein Jude jemand ist, der naiv glaubt, dass er, wenn er selbstlos zu seiner Gastkultur beiträgt, akzeptiert werden wird. Aber wir sind die Außenseiter der Welt. Das ist es, was mich am Stamm [tribe] anzog – die Kultur des Außenseitertums.“
JOHN ZORN radical jewish culture

todos poetas son gitanos, abejas del invierno
APTC

http://www.youtube.com/watch?v=meuADD2Mqag

Talking shit or Cut that crap OR Shit into gold

1. Like everything and every thing it's consisting of only one image, but the parameters are always changing... lol



2. Why in our world is a film like "The Lost Works and Masters" rejected by the "official" contemporary "art scene" to say "festival culture", when it is obvious for every artloving spectator with eyes in the heart that is is eye to eye with the most striking experimental films and most cosmick works of art? Stan, Maya, Ed, Bruce, Bruce, Dziga, Kenneth, Kurt, James, Hollis... et al. The music by Delia, she wrote it for us long before I was born. Stars. The greatest respect always to you ol' lady. Modern FEMALE genius and pioneer of electronic music, forced to die as an alcoholic wreck by life in a society that is all but DRUNKEN. WE TELL YOU THE ANSWER: It's rejected by nihilistic mediocrity because it reminds man that he's NOTHING. Not in a "religious", sociological or whatever sense like good or evil, precious or cheap etc. but simply NOTHING. That's what art tells in the best case, the transgression of creator and spectator, that there is no truth about "something", there's only truth about NOTHING. Maybe. Face your neat little soul, your bound little mind. There's nothing BUT acts of experience. Experiences can also be "religious", to all you nihilists, but it's transcending nothing, paradox hard to bear. The death of art is "des Todes Tod", fascism. OR, gold, to quote a YOUNG wise man: "They all seek their own existence, to assure their existence against that complete atomization into nothingness. Man cannot stand a meaningless life."

We once described the video as follows: "The structures of the human self are breaking at the dike of a fundamental solitude, and the dreams, the ephemeric visions of mind in its corporal mode are nothing but the traces of its broken shells, left behind on the shores of reason. They may be significant products of the unconscious but, what is more important, they are the blind testimonies of the only act that exists in nature, the act of breaking of reality that is the only reality as it appears. The feeling of that singular loneliness is the one desire of the illusive self, its symbolic relativity in a simultaneous space and time, the desert of being."

OR
as the gorgeous harpy puts it:
"PS What's the last thing to go through a mosquito's mind when it hits your windscreen? It's arse!"

The Architecture of Sexism

America, America, America, T.C. on the America Trilogy by T.C.

Part 1: „Dog God Blues" (13')

Part 2: „Raw War Blues" (44')

Part 3: „New World Blues" (13')

For us „America" does not necessarily mean a territory, but a dream, like for Varèse, or an „airconditioned nightmare", like for Henry Miller, leaves of grass, a dream that comes to the black children in the hour of Pan… (A dream that has nothing to do with the so called „American dream".) Nothing but a chance for transgressive forces to emerge out of the human comedy, tragedy, nothingness (the truthful Blues…) Therefore we do not need to go filming to the sad territory USA today, this dreary, dull, ridiculous empty cistern governed by fear, hate, paranoia, nationalism, bigotry and what we call the „architecture of sexism". The historic found footage shows it best, even more since many sequences do not show the Americans themselves, who btw never existed in reality, but the things that they never understood until today: fascism, their own true face. The 1st & 2nd WW. Enola Gay. „Little Boy". Ivy Mike. Some „pure" Africa. They bring havoc in fear of the physical damage they scarcely experienced in their own land (unless through a weird hypostasis of nature or ragged masses of workers who contrary to the rest of the world remain forgotten within the junkyard of history) - a fatal lack of existential experience. Jean Luc Godard puts it this way in his shrewd way: the Americans only know the civil war because they always distractively fight themselves and their own concealed problems in the face of the other. Themselves, the natives, the slaves, the fascists, the communists as there seemed to appear forces of liberation within themselves, the Islam as the face of their own reactionary, fundamental supression of a sovereign female sex…

(Finally maybe the only reason to waste ones precious time on the US of America might be to SEE their parvenu position as the only remaining imperialistic, parodistic „superpower" in a global post-political cultural age. The „face" of the world that needs to be sacrificed – „Estados Unidos", E.U.)

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