Lovelace & Byron

Ada Lovelace is honoured with a doodle.

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I went to see the 2014 MONA FOMA. A action-packed, fun-filled week of music, art and shenanigans. Like all public events, and many privates ones, foma brought forth some of our modern contradictions. And the source of this article being an apparent (let us be polite and say an inadvertent) sexism.

The recent festival included a performance of the Ada Project. The Ada of this project is Ada Lovelace, a Victorian era mathematician who worked with Charles Babbage to design a mechanical general-purpose computer, called the Analytical Engine. As Ada Lovelace died in 1852 this was an amazing intellectual achievement, even if was never realised.

Sadly there is a preoccupation with her famous father, Lord Byron. A father who was disappointed to sire a daughter, and who left Ada and her mother only one month after the child was born. Rushing off to fight for Greek independence, he like so many others soldiers over the generations, died of fever in camp. He never saw the enemy, let alone fire in anger. It is all rather pathetic, and more than a trifle appropriate.

But let us see some examples of this phenomenon:
It’s the first time I’ve seen an industrial robot dance to an opera about Lord Byron’s daughter, who was diagnosed with hysteria as she died of ovarian cancer (The ADA Project)

An industrial robot, inspired by the life and work of Ada Lovelace, gifted mathematician and daughter of Lord Byron. Lovelace predicted computer-generated music 100 years before it eventuated.

The Guardian, if only parenthetically
They are inspired by two things; first the movements of the machine, and secondly the life of Ada Lovelace, a Victorian mathematician (and daughter of Lord Byron) who Shawcross tells us developed a prototype computer called the Difference Engine.

Prepare to be mesmerised by The ADA Project: four musical commissions inspired by the life and work of Ada Lovelace (1815-1852), the gifted (yet troubled) mathematician and daughter of Lord Byron

There is no arguing that Ada Lovelace was in fact the child of Lord Byron. And I understand the use of this sort of short hand, allowing the reader to quickly orient themselves. There is no doubt that Lord Byron is a famous name, full of bad boy intrigue and eroticism. All this does work to quickly frame Ada Lovelace, but it does it seem to me, if not wrong, at least not right. As Byron abandoned the mother and child, he could not be called her father; as being a father is more than spreading one's seed. Indeed Byron was no more than a negative, a hole in the life of Ada Lovelace. Her mother, embittered by the rut and forget policy of the famous poet, gave Ada a rigorous education in mathematics and science. This was a vain attempt to keep her away from poetry, and all romantic ideas. Ada's mother felt poetry to be a source of insanity. Ada developed ideas of poetical science, ideas which allowed her to ask the right questions about the role of the Analytical Engine, and the relationship between the machine, the individual, and society.

Although some historians doubt her contributions and abilities Ada Lovelace is remembered as a great mathematician, one of the best of her generation. She devised, and again some reject these claims, the first computer program, an algorithm for calculating Bernoulli numbers. - - More importantly she was able to contemplate the idea of the general purpose computer. The idea of a Turing complete machine that can solve any equation. This seems like little when it is written down, but this idea is what allows us a computer to generate music, film and all teh other content that goes with it. Lady Lovelace, with Charles Babbage, also conceived of the idea of the stored program. A calculator is a computer, but one that can only do one thing, to get it to read email would require much effort, and modification. The modern computer allows me to write this with my typesetting software, while changing windows to view my email, or to further research Ada Lovelace.

If we were to compare Lord Byron to Lady Lovelace in their relative importance to our modern world, there is no comparison. One wrote a few good, and some very good poems that allow us to see the mindset of England after the Napoleonic Wars, one of them worked to develop ideas that are only now coming to fruition.

As an aside, and with perhaps some irony, the US Defense Department created a language called Ada This language was defined as ANSI/MIL-STD 1815A, but note the numbering -- 1815, the year Ada Lovelace was born.

To get some idea of the achievement of Ada Lovelace and Charles Babbage, we can look at the contradiction that surrounds her unpleasant death. Aged 37 she died from ovarian cancer, her doctors had resorted to blood letting, and came up with theories that too much science her made her hysterical, causing this debilitating disease. Being an aristocrat, Lady Lovelace would have had access to the height of modern medical thought. These are some of the contradictions of a world, still in the infancy of industrialisation, where Ada Lovelace is imaging machines that can create music, while contemporary medical science is still resorting to sympathetic magic, and superstition for cures.

The final word I leave to Ada Lovelace, to allow the reader to get a feel for her visionary imagery and work: "The Analytical Engine weaves algebraic patterns just as the Jacquard loom weaves flowers and leaves."

Heavy Discipline

With their diseases and orgasm drugs and their sexless parasite life forms—Heavy Metal People of Uranus wrapped in cool blue mist of vaporized bank notes—And The Insect People of Minraud with metal music. Nova Express 112 ~ WSB

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Until day four of mona foma I was ignorant as to the existence of Psycroptic. It has been a long time since I have seen a metal band play live. Needless to say I no longer make the scene metal-wise.

But the great thing about festivals, about these sorts of anthology of acts is that one gets to hear things they did not know that wanted to hear. Even though I no longer make the scene, I still enjoy listening to good metal. To me it is one of those types of music that forces you to move. Metal is still the best fuck off to parents and squares everywhere music, to all authority!

The band had just started their set as I walked up the street towards Macquarie Wharf. Louder and louder the music rumbled and echoed, calling to me. I was a bit wary when I walked into old MAC2 warehouse cavern with a tech-death metal playing. But I chose to keep an open mind. I wanted to judge the band on what they are trying to do, not what I would have liked them to do. I am glad I did.

Before the end of the song I had moved my way to the front of the crowd and was, if not head banging, at least grooving in my own way. For after all were not the Sex Pistols a type of metal band?

Psycroptic is a Hobart band, they have released five albums to much acclaim in the metal community and have won an international fan base playing tech-death metal. I know this because after the show I was waiting in line for a coffee and spoke with a fan.

Technical metal refers to the technical ability of the musicians. The Guardian described this type of metal “death metal with complicated bits in the vein of prog rock.” This is not the sort of band where one can recruit a friend because they look the part, one has to be able to play their instruments. If technical ability is the key, then Psycroptic deserve their position as leaders in this type of metal.

Drummer Dave Haley first captured my attention with his relentless, powerful, driving drum work. Brother Joe Haley played guitar, and like his brother he played with a savage power and speed. A replacement bass guitarist was needed for this gig. He was introduced as Sam. Like the rest of the band he was a demon on his instrument. Thumping bass lines and jumping about with the best of them. Lead singer Jason Peppiatt rounded out the band. He strode about the stage exhorting his troops to battle, inspiring frenzy in band and crowd alike. The younger ones in the front rocked hard. Long Lacedaemon hair giving them strength. The singer reminded me a bit of Brad Pitt in the movie Troy. And to my drug addled rock and roll fantasy mind his death metal screams and wails echoed down the ages the screams of the Danaans before the walls of Troy. The angry refusal to follow those who are your inferior. Screaming out the pain, horror and sorrow of ten years of futile war.

Screaming and hollering the rage and energy of working people.

I still have problems with this type of music -- but to have been there, to have been in that moment, I would not have missed it.

Pedesis

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This is not any sort of a critique. it is impressions and thoughts and feelings over the course of an evening. i was lucky enough to see Televison play at the Void Bar in Hobart's Museum of Old and New Art.

Pedesis, or the night I saw Television.

Down distant shadow extending
Mountains to the flat marshes below.
Egyptian valley of the dead kings
New Yawk art dirt scene garage.
Dug and torn limestone walls
Hand sharp scraping nails
And the light and the colours emboss
Expose surface weird shape faces
Billion year old dead ocean floor
Catacomb tunnels, a history lesson.
And always falling slow below
Rain - democratic rain of atoms
Swerving Brownian epicurean rain
Sewering onto the gluttonous mire
Maladetta, fredda e greve.

And the light!
And the light!
All things are built light
Rolling thoughtless waves
Fade away and radiate.
Long tunnel building light
Sex cramped sardines. Alma Venus.
Dancing billion year dead abyss
Falling rain of generations of fish shit
Tiny calcium carbonate exoskeletons
Patient rock cliff gouged hand and mind
Falling rain like the atoms and swerving
On the heads of the many onto the floor
Of the insatiable sea.

Harsh camera flash belch -
Acid turning oceans
Tiny shells corroding
Not forming - like an atom bomb
Lisping fractal recursion, play old man
Old man, too late, ah christ be double fucked
I am discharging. Cicadas on tree branches
Climb and sometimes sing.
We gather bars, talk endless.
Solitare joy of pure thought
Contemplating pedal steel
Endless rhythm building
Climaxing disorder of sound
Ah! Tis a pretty death!

Band art Faraday cave cage.
Cool outside away night air embrace
Smoking assassins, scientists, and artists.
Old friends chat, new ones stumble.
The celtic bard opines advances moots
Looking at his watch “There was a time
I would not be drunk enough to go out
This early.” Monads muttering
And stuttering, sweating, anxiety
A chance remark serviles me
Battered I fall rain limp,

Atoms in the void,
Unable to catch each other up.
Contort yourself one time
Turning pleasure into fear
Society into isolation
Contort yourself two times
Vortex of anxiety and self-loathing.
Bright police lights
Terror driving home
Country star exposing dark
Unloved unlit country roads.
And high beams make wallaby
Shadows of road side shrubs.

loquere ut videam te

...within his head many words, but disorderly; vain, and without decency, to quarrel with the princes. Iliad 2.213-4

I went into town last week. I went to the small hole in the wall smelling of thick rich coffee and of thicker and richer spices cafe -- Frankie's Empire. I ordered three well appreciated hot chocolates for the children, and a flat white for myself. Besides the well received drinks I was interested in see a new -- for Hobart anyway -- cafe poetry or to be more precise spoken word night. New to Hobart, but not a new idea. There are monthly readings (first Sunday of the month) at the Republic Hotel. I do not want to get into a debate over the merits of this event as against that event, nor do I want to get entangled with the even more ludicrous argument comparing the relative merits of the spoken word as against the written word. I do, however, want to offer a frail apologia for the will and representation of the spoken word, the open mic event.

So it seems that was the end of things, but then I thought over my past, about the many people who have been not supportive of open mics. The ones who have pronounced such nights to be awful, or even atrocious. And some seem to create a distinction the written and the spoken, and privilege the written. I have never thought that this was the right attitude. No sense getting into an argument here, but I will quote Swinburne and say that the first rule of the singer is to sing. Take this as you will.

Atrocious & awful, sure. But this is very nature of the open mic - poetry slam scene. But let us be generous in our criticism. Maybe not always possible, but in this case I think the thought of critical generosity should be kept in mind. My visit was only the third time this event (silverwords) was held. It is very much an amateur or DIY sort-of-event, in the sense of having no government or university grant money to support the organiser, but more importantly in the sense of being a labour of love.

Describing this sort of spoken word evening as awful shows the wrong attitude to have to open mic. Even if most of the poems were crap, the questions must be: did you have a bit of fun? did you get out of the house? did you hear even one line that was of interest? I have been wandering in and out of these sorts of poetry readings and slams and etc for a great many years, ever since I stumbled into the DC Space bar on a cold wintry night two generations ago. One of the things that I love about this open mic formula is the fact that all are welcome. How hard is it for the average person to jump up on stage and read a poem that they wrote?

Omar Musa, Brett Dionysius, Miranda Lello, Jared Louche, Rebbecca Edwards, are among the poets, musicians, artists that I have known, off the top of my head, who have toyed with the open reading format at various times in their careers. Together they have put out albums, books, blogs, journals and much more. While it would be foolish to say that spoken word was a main determinate in their work, it would be as equally foolish to deny the education of the open reading environment. Like Julia Gillard in her resignation speech, “it does not explain everything, nor does it explain nothing.” For open mic is primarily a way for people to quickly get feedback and encouragement for their work.

And here we have stumbled across the key word. Encouragement. Open readings offer the young, whether young in age or in spirit, player a chance to try out material, stances, vocal styling etc. as Adonis Storr, the event organiser said at the beginning of the evening we are here to encourage each other and love one another (or as Ted "Theodore" Logan would say, be excellent to one another)

Open mic nights show a type of democracy, a type of democracy that is messy, rowdy, uneven, but mostly participatory. In the second book of the Iliad after Zeus had sent a riddling dream to Agamemnon there is an spoken word, open discussion of what Acheans are to do. Even the lowliest can speak. Thersites -- whose name means the bold, the audacious -- was the only brawling belly-aching foot soldier, the only private mentioned by name in the poem, that spoke. Although he was howled down and beaten by Odysseus his speech is a turning point of the war; for after his speech the Acheans agreed to stay at Troy and not return home. But did he not speak the truth? Did he repeat what Achilles said, did he capture the soldiers demoralisation after having lost Achilles to the greed of Agamemnon? Did he not say what all were thinking, but were too fearful to utter? Did not this wretched, cold, wet, brutalised, foot soldier at once mirror Achilles' attack on Agamemnon and the established heroic order, and at the same time mock Achilles, being as wretched as the hero is glorious?

In this way we can see that the open mic, spoken word format is a type of democracy assembly; in the sense that all are equal, not in ability or experience, but in the ability to speak and take part. Indeed in the democracy of classic Athens one was expected to take part, and to speak well. To show a concrete example of this democratic spirit at least two people who had never read a poem in public before spoke on this night.

With no, or at best elastic, themes for these evenings the poets were free to investigate a wide range of spoken words; from dubstep rapping to Banjo Paterson.

And the hurrying people daunt me,and their pallid faces haunt me
As they shoulder one another in their rush and nervous haste,
With their eager eyes and greedy, and their stunted forms and weedy,
For townsfolk have no time to grow, they have no time to waste.

A young man sang to Jesus for setting him on the on the straight and narrow. Love songs hate songs tumbled some spoke political other declaimed apolitical still others in turn spoke fierce, calm, earnest, whimsical. If one wanted to quote Lenin one could use the idea of the joy of the festival of the oppressed

For who will make the poetical revolutions? The academics? The narrow professional literary journals? Any revolution, whether in art or politics, will be built by the broken, by the outsider (consider the 1961 Dylan unwashed phenomenon, or the filthy 1977 Sex Pistols or a world or two before the poverty stricken, rotten toothed 1921 James Joyce forced by need to accepting gifts of shoes by Ezra Pound.)

Looking back over years of poetry readings, it is these acts of self organisation that will advance poetry. Even if nothing comes maybe one or two people will develop a life long habit of writing poetry.

Some of the problems with the open mic include the problem of, at best, a patchy selection of poems. It is just the nature of the beast, as it is true for poetry journals and canonised collections. The idea is to allow new and unpublished poets the opportunity to gather and to share and read aloud. The benefit is to hear new voices, new ideas, ideas which are often not spoken, voices which often do not get heard. For example when I did a quick, non-scientific, survey of a noted on-line poetry magazine, I was impressed by the fact that the majority of artists in the journal were in the (mostly tertiary) education industry or entangled with the arts bureaucracy in one way or another. There were some poets, but not many, from outside these circles.

Spoken word nights may be insular, may be hit or miss affairs, may even be atrocious and awful, but they are also a cheap and fun night out, they offer that chance to hear some new poems, and they offer the chance to have some interesting conversations. But most importantly is the confidence that poetry slams can give to new players. For poetry in general, and performance poetry in particular is a ladder to be climbed. Spoken word offers much to be learned, as it is a skill and an art like others.

Do not take my word for it watch this video about the Canberra Poetry scene, built over over many years with a dedicated crew of young and enthusiastic poets. Or even better come along to Frankie's Empire on Thursday 4 July for a spoken word night, and then on Friday 19 of July come along as Frankie's Empire and Silver Words host the Hobart heats of the Australian Poetry Slam Contest.

Also the Republic Hotel in North Hobart was readings on the first Sunday of every month.

and the latin title means - speaks that i may see you.

War of the Worlds

Last night I had a night of disturbing dreams. It was a War of the Worlds sort of dream, and I was running and hiding from the aliens who where rampaging around the countryside. This was all very fun and interesting in a disturbing way.

Later the dog woke up my partner, as he had to relieve himself. So half awake, and half dressed I took the dog outside. In the cold clear night, with no clouds and a wide open starry night, I stood alone. Waves from the ocean smashed into the sandy land making an echoing sound like the engines of the giant alien machines from my dream. And when the wind caught the gate and rattled it back and forth, I jumped and my heart skipped a beat.

Lucky for me the dog had finished and I was able to rush back into the house and pull the covers up over my head and fall back into embrace of sleep.

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shadows and sighs

Long streaks of early morning shadows
Fall right to left across the paddocks
And they shrink each time I turn my head
To look out the window, clear and windy.
Overnight the wind howled and groaned.
And I thought, no one happy until death
Can the dead be happy? And then my son
Said, be careful for what you wish for.
What? I was just thinking, well I thought
About spiders and they are creepy
And then I thought about this cartoon
And it is a bit creepy,
And the moral of the cartoon is
Be careful for what you wish for

And I was reading from the Oxford
Illustrated History of Greece
And the Hellenic World.

Child? Why do you cry?
Why is your heart so full of grief?
Speak now! Do not conceal!
These things in fact came from Zeus,
After you prayed.
Arms outstretched.
Palms up supplication.
You prayed all the sons of the Achaeans
To be hard pressed, huddling sterns of ships.
Wanting for you, suffering shamefully.

With deep sighs and groans swift footed Achilleus spoke
O my mother, all these things have been granted of Zeus;
But what pleasure is there now that my love has died?

The shitty shadow play

A friend whom I have never met, but only through the inernet, Ian Milliss wrote this article for the 250th anniversary issue of Art Monthly. Our digital dialogue has allowed me to develop respect and some sort of affection for his views and opinions. This article made me think about stuff, and I was at first going to reply with a witty internet sized one liner, but the more I thought the more words and ideas were vomited forth. So I guess you should read his article first, to get some context. Or not.

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The shitty shadow play of a shitty world, so a pal of mine in Canberra called the art scene and the local artists. This is caused by the global fordism of art, as Ian so clearly points out. The idea that Disney will buy out the museyrooms is a dystopian fantasy that sadly can become true, if we do not keep on guard. (One only has to look over the history of the cinema, and the banal state of publishing in the Anglosphere, to see the danger will are facing.) Indeed David Walsh refers to MONA as a subversive adult Disneyland, and much as I admire and appreciate the gallery one has to ask the question, how subversive a can a Disneyland, adult or otherwise, become. Is the goal of art to titillate and 'shock' with walls of vaginas, and smears of poo? Or is the goal of art to, in simplistic terms, try to make us better people, to try to make us see the world though the eyes of pure childhood playfulness anew? We have only a tenuous grasp on life, and we should not settle on facile blandness.

The mass production of art combined with, not a lack of talent, but rather a lack of ideology. Indeed ideology seems to be a dirty word these days, but to me it is nothing more than an attempt to bring things together, and attempt to make sense of the contradictions of internal world versus external world. A gathering together of threads, going way way back to the PIE *weid- meaning to see.

Too many people, schooled as they are in the vapid world of witty one liners and the constant fear of any authentic activity take ideology to mean little more than impractical thinking about things. Not really understanding that there is more to life than the constant one sided pragmatic jumping from one crisis to the next with not understanding as to how all things are interconnected and come together. Art is seen as apart from politics, apart from our interpersonal relationships, apart from the choices we make as consumer. Of course like all things human ideology can become perverted, and can become a hindrance to thinking and activity, but this is why the critical activity must also be turned inward, one must constantly question oneself. So when new experiences, new ways of seeing arise they must be integrated into one's ideology.

We can see this negative understanding of ideology clearly in recent critiques of the green party, who are constantly assailed for having principles and a policy they are not willing to throw overboard at the first opportunity. This can be summed up with a quote from Michael Danby, the federal member for Melbourne Ports, reported in the cesspit of pretend pragmatism vexnews

'The Greens have discredited themselves with many inner-city voters I talk with every day by voting with the Liberals on asylum seekers. Frankly I’ve been struck by the magnitude of the criticism I hear of their self-indulgent and viciously ideological position on asylum seekers, that is costing lives.'

While I do not like to see the Greens on the side of the LNP, it is wrong and a misunderstanding to say the Green Party voted with the liberals. They voted as they saw fit, in a way that they felt was true to their positions and policies. On the other hand the liberals in a choreographed display of populist vengeance (who can forget the staged spectacle of Joe Hockey and his histrionic welling up at the idea of  sending unaccompanied children to Malaysia, while at the same time cynically supporting the idea of turning back boats) voted in a way that would bring maximum disruption to the government, regardless of any ideology the LNP may have.

But I digress, for it is late and I am tired and a bit tipsy.

Art should be part of this trying to make sense of the world, and while I do not disagree with the idea that the world is in many ways unknowable and in constant flux,  one has to also admit that the world is repeatable and in many ways can be known. This can be seen in the simple act of cooking dinner, I apply heat the water boils, I apply a knife to the carrot and it cuts, I add yeast to flour and the dough rises.

One day art in the future will dissolve, and this process is beginning,. This can be readily seen with our street art, as well as the space created by the internet. When this day comes art will be simply a part of everyday life, and there will no longer be a need for the priestly caste of critics to mediate and tell us what is pure and what is impure. Conversation will become inclusive. The conversation will no longer be the purposeful obfuscation using silver dollar words. The conversation will no longer spew forth from one sided two faced confusers with a weak grasp of the ideas of thinkers such as Derrida. The weakness and shallowness of these types of posers support their ideas with a firm grasp on the language and tropes of the arts bureaucracy and ways to job the system. Everyone will be an artist precisely because there will be no artists in a festive echo of Lenin's idea that one day the lowest clerk will be able to run the affairs of the state. Art and humanity will be free and human activity will be seen for what it can be, a type of play, a thing of joy, and not a hammer with which to batter the other in vain attempts to gain control and dominance. Art will be enjoyed for it's 'spiritual value', not it's exchange value. Art will become integrated into life, and indeed ones life itself will become art. To me this should be the aspiration of all artists. 

With usura hath no man a house of good stone
each block cut smooth and well fitting that design might cover their face,
with usura
hath no man a painted paradise on his church wall

Gallifrey Falls!

You Burn Me

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The tea-rose, tea-gown, etc.
Supplants the mousseline of Cos,
The pianola "replaces"
Sappho's barbitos.
Ezra Pound - Hugh Selwyn Mauberly

Fragment 38:
You burn me.

What are we to make of such a fragment? A fragment with so little information. We know very little about Sappho. We do not even write her name in her dialect. Psappha would be more correct. Even her name is mediated by years of eroding and mutating tradition. All that we accurately know about her life could easily fit into a single tweet.

She was born on the island of Lesbos, but was she a lesbian? Or was she, as the Victorians affirmed, a teacher, the head mistress of a finsishing school? We do not know. A priest in a cult of Adonis? A sacred prostitute at the temple of Aphrodite? How much does it matter? So much of what we think we know is just guesswork based on scattered ashes of the body of her works.

She seems to have been born as early as 630BC, and may have died in 570BC. One of the entries in a Byzantine encyclopaedia, the Suda, dates her to the 42nd Olympiad (612-608BC). Even this simple date is ambiguous,  tantalizing. Was she born in 612 or is this date her floruit, her time of flourishing?

Even straight forward and to our minds basic facts are open to argument. Did she marry and have children? An entry in the Suda suggests she married the wealthy Kerkylas from Andros, but this may be bawdy Attic punning propaganda, as the name could be taken to mean the she married 'Dick Allcock from the island of Man'. Possibly this came from one of the many Athenian comedies which used Sappho as a figure of ridicule. As the political climate in Athens became less tolerant of the noisy, boisterous democracy of the rowers, of the assembly, and the theatre; and as those who had been lampooned turned more and more to the law courts for compensation, the Middle Comedy period arose. In this style of comedy stock characters were used as cover for political critique, until the characters took on a life of their own, and became an end in themselves controlling the poets more than being controlled. Apparently Sappho was one of these characters, sexually promiscuous and often portrayed as a lesbian, and so fiction and biography became intertwined. 

As an aside it is interesting to note that Athens, the cradle of democracy for the modern West, was one of the more sexist communities in Ancient Greece. Women could not own property, and if the husband died the wife was often married off to her uncle. She was described as being 'of the land'. Marry the widow to get the farm. In our modern contract of falsehood Sparta represents a militarised Socialism similar to the collective of the Borg or the unfeeling Cybermen of Doctor Who. In reality compared to Athens Spartan women were accorded greater freedoms. This may have been because of the practical problems caused by the men spending most of their time in the regimental mess. In Laconia the young women exercised naked, as only Spartan women could give birth to Spartan warriors.

In the barbarous eastern frontier, where Sappho was from, women had various rights. This goes a long way to explaining the misunderstandings between Troy and the Achaeans, which led to the long cruel war. In the mind of Paris if Helen wanted to leave her husband she was free to do so, and was also free to take her dowry with her when she left. In the mind of Menalaus Alexander had violated an oath, had committed sacrilege

It is probably too much to assert that this middle comedy characterisation of Sappho as promiscuous and a lesbian was the deciding factor in Pope Gregory ordering the burning of her books. We do not know what was in the nine lost books. But we can assume that the lies generated about Sappho some two centuries after her death and the legend of insatiable sexual hunger that was created around her tempered the views of the Pope. In 1072 the Papacy ordered her books burnt. These perfect songs had survived some 1500 years of natural and man made disasters, the numerous wars and upheavals of the lived history of the Mediterranean. Did not Plato suggest that the comedies of Aristophanes played no vain part in bringing into being the mood of hostility towards Socrates? And that these distortions of the thoughts of Socrates acted upon the minds of the Athenian jurymen. In the Republic Plato suggests banning comics such as Aristophanes. The ones who earn their dinner ridiculing actual persons. For as we know only too well from our daily going about our business that the spreading of falsehood and rumour in the public culture takes on a life of it's own and that these lies confront us as an alien force. If, as is said in the old proverb, ‘a lie will go round the world while truth is pulling its boots on’ how many times will the lie circle our networked globe? Will it race round the world even to the extent that, like Superman flying so fast and so often around the world, time stops and then moves backwards. And so the electron fast lie is able to rewrite history, our shared artificial narrative.

Was Sappho a lesbian, or was she married? Again the poems seem to point to both of these possibilities. Of course one can be married and have children and at the same time be a lesbian. They are not mutually
exclusive. Indeed we all have different modes of existing at different times of our lives. As it seems fairly certain that she was an aristocrat, it could be that she entered into an arranged marriage. Nobles have had arranged marriages for as long as they have wanted power.

One poem refers to Cleis, her 'kala pais', but does this mean beautiful daughter, or beautiful slave? The Greeks used the word pais to mean child. In the same way that rednecks in southern states of America would call black men boy, pais can also mean slave. This idea of the slave as childlike can be seen in French which still uses Garcon to mean boy, servant or even waiter. Obviously the language of domination. Most commentators seem to agree that it was her daughter, and I am not in a position to argue, but after almost 3000 years of time, writing as she did in an obscure dialect, how can we be sure what we know.

We can be pretty sure that she had to flee Lesbos and spent some time in Sicily, then a Greek colony. We know this as Cicero tells us a statue was erected in her honour in Syracuse. She may have been exiled for political activity, or the activity of her family. We do know she came back to Lesbos.

The one thing that we do know, and the only thing I feel we can truly focus on, is the fact that she was greatly admired as a poet. We know that she invented new forms of metre, notably the aptly named Sapphic stanza. Three lines of eleven syllables, with a fourth line of only five syllables. The Greeks, like the Latins based a line of poetry on alternating vowel sounds; not as in English poetry on stresses. In the following model:
- is a short vowel sound,
u is a long vowel,
x means the author could use either long of short.
The line would look like this:

- x -  x  - u u -  u - -  

An example in English by Alan Ginsberg

    Red cheeked boyfriends tenderly kiss me sweet mouthed
    under Boulder coverlets winter springtime
    hug me naked laughing & telling girl friends
        gossip til autumn


We also know that her poems were meant to be sung, accompanied by the lyre. The barbitos that Pound mentioned in our opening quote. Plato, among others, spoke of her as the tenth muse. Many poets including the Roman Ovid and Catullus greatly admired her work, even if they had muddle headed views about the woman herself. In another confusion of history we do not know if Sappho invented the plectrum, what we would call the pick for playing the lyre or if she invented the pectis, another type of stringed instrument. Both, neither? The truth does not really matter. For these legends show the esteem the ancients felt for her as a lyric poet. If alive today would Sappho be an example of what we would call a singer songwriter?

How much can we deduce of her character from the poems that have come down to us? I do not think we can place too much value on the remaining  fragments in giving us a clear answer. Often the poet will write a work from a specific point of view, will try on different voices and personas, which may or may not agree with the inner-held views and feelings of the maker. This is even more true in any analysis of Sappho, as we have many fragments but only a few completed poems. I do not think we can view her poetry as confessional in the same way that we can with the works of Sylvia Plath. As we can be no more that transitory confused visitors into her world, obscured as it is, as we are, by the fog and shadows of the past. We can only admire her work. We must refrain from using as a reinforcing mortar our bias and feelings in an attempt to support and add form to the crumbling walls of her often very sparse words.

The Middle Comedy Athenian playwrights, Victor Frankenstein like tried to reanimate Sappho, but with no understanding of electricity it seems they were left with the frail expedient of rubbing amber over her dried bones. Our modern artists attempt to energise Sappho. As so little is known, Sappho is one of those compelling figures of history who seem to work like a magnet on the razor sharp minds of our poets. Over the generations she has been stripped of her actuality. The dry brittle turning into dust bones of Sappho have been dug up and fashioned into a type of skeleton for both ancient and modern critics to try to reanimate. Attempts have been made by these thinkers of thoughts to bring her back to life in their own zombie image. Cutting and pasting great slabs of fleshy meat lies and transplanting the bloody vital organs of ideological contradiction; emotional, political and psycho-sexual.

As we have no real basis for raising Sappho from the dead, it is my feeling that we should let the poems stand, as best we can, on their own and admire their diamond sharp neatness.

Maybe she was 'looking small and dark, and exactly like a nightingale with misshapen wings enfolding a tiny body' as a scholiast to Lucian said, or maybe she was violet-haired and honey smiling, as a contemporary said.

Did she threw herself into the sea from the cliff of Leukates for love of Phaon of Mytilene, as some attest? Did she die at home in her bed, surrounded by loved ones and family?

So little actual knowledge so much ink spilled.

Sadly the ravages of time, the hostility of those who opposed paganism, the hostility of generations of misogynists, have left us only torn faint smouldering embers dug from out long buried garbage heaps. These embers are still bright, and are still able to burn under the skin of the reader after over 2500 years.

I have translated, in no particular order, some bits and pieces below. I have not even tried to reproduce the metre of her work, as the gap between modern English and the obscure inflected Aeolian tonal dialect is too great for us to safely jump over.

Fragment 16 - Is this a critique of Homer's hymn to violence?

Some they say the prancing cavalry
Others an army with banners
Still others the ships under sail
Are the most beautiful
Upon this black dismal earth.

But I say it is the loved one...

Fragment 31 - Something is happening here. This piece is full of sexual tension and energy. Is she lusting after the man or the woman? Is she behind the bushes spying on young lovers and bringing herself to orgasm. It seems that way to me. As green as grass could also mean as fresh as grass. Which makes me wonder; could Sappho be thought of as an Ancient Madonna?
Like a virgin? This fragment falls apart at the end, and we are not sure if the last line is meant for this poem.

He appears to me, this man,
As lucky as the gods. The one
Sitting cheek to cheek close to you.
You sweetly speak, he answers, obeys.

And your laughter excites desire.
In my breast my heart quivers.
The merest glance on you
And my voice fails.
My words break into pieces.
Fire burns under my delicate skin.
My eyes blind, a roaring fills my ears.

And sweat pours down, a trembling
Takes hold of me, as green as grass
I am. And a little death appears to me. 

But all can be dared.

Fragment 36, - in love in life, in all things this should be our motto.

I yearn after, I strive for...

Fragment 38 - simple, opens the door to the room of many questions.

optais ammi.
You burn me.

Fragment 47 - universal and timeless, who of us has not felt this?

As the winds shakes and bends the mountain oaks,
So love has disturbed my purpose...

Fragment 52 - simple, clear, almost Zen like. Also a fine example of the very literal style of the Ancient Greeks noted by Robert Browning.

The moon is setting
The Pleiades as well.
In the middle of the night
The hours pass.
Alone I sleep.

Fragment 54 - no context here, have no idea what she meant, but it
sounds nice. I think it could be Adonis again.

Down out of heaven he came,
All dressed in purple.

Fragment 82 - the Kleis fragment mentioned above

I have a lovely daughter
Formed like golden flowers.
Beloved Kleis.
Not the wealth of Lydia
Nor lovely...


Fragment 138 - A lovely image, note that Sappho uses the masculine
form of my love, filos, as opposed to feminine file.

Stand before me love, face to face
Let your beauty pour into my eyes

Fragment 140 - Adonis, the beloved of Aphrodite was a complex
character in Greek mythology. When the spring rains come and the snow
melts the rivers of Lebanon run red (with the rusty red earth) and the
ancients used to say that this was the blood of the dieing Adonis. The
cult of Adonis seems to have been secret women's business, and during
his yearly festival women would plant seeds in a small thin bowl of
dirt, the plants would grown quickly, and as quickly they would die
off. Adonis is one of the models of Frazer's ideal of the dieing
God. I tried to capture the alliteration of this verse. Kuthera being
another name for Aphrodite.

He is dieing, O Kuthera,
Your darling Adonis
What is to be done?
Beat your breasts daughters,
Rend your dresses.


If I was to reanimate Sappho I would imagine her running her own symposium. Vast drinking and dinner parties with gorgeous young things as sharp as they were beautiful lounging languid on pillows stuffed with rose flowers, and hurling copper eyed ladles across the room, trying to make the most satisfying clatter as the ladle hit the wine jug. A delicate wine splatter following. The room would be abuzz with conversation and bon mots and perfumes and flirtations and the sound of the lyre would announce a new song from the Divine hostess Psappha of Mytilene.

Penna Mona Penna

---

The three girls were sick, that left us boys to go to see Theatre of the World at MONA by ourselves. Nothing too bad, just colds and general sleepy day dreamy lethargy.

I had no reason to set the GPS. I did it, more than anything, out of habit, and a childish love of all things geek. When I glanced at the clock for the first time it was 12:34. Adding to ten this is my favourite time of the day. A cheery wizard omen. The theatre of clearing and forgetting. The second part of The Beatles White Album looms exactly to fit into the ride from Penna to MONA. From Birthday to Good Night.

And the divine divide is almost as beautiful as the study and the seat of the Muse is in some ways more beautiful, less beautiful, more disturbed by human hand, lest disrobed. Clear and disturbing obscure as uncensored night time visions. Coal Valley. Duck Hole Rivulet. Grasstree Hill Road. Sad jet faced microbe slow eating constant chewing fat black daughters of Hathor. On the side of the road they strand watching dozy dreamy wise the cars slowly fade into the past. The valley rich in sheep . Dull brown native hens greedy scratch at new sown fields green. And the valley rich in grape vines opens out from the crest of the ridge bright yellow and belligerent green new and fertile sweet and rich in abounding mechanic fields of industrial onion and lettuce and potato and the shiny green glade of fresh shown newly rained rapidly will to power to the sun loving grasping striving unto the sun and the former and shaper of life one earth and we are but interlopers and the wind through the trees and Henry Reynolds tells us the cries of dead rattle the trees. Without integrity...not a nation , but a community of thieves to listen to Xavier Herbert.

Mountains rise dreamy sheer a curtain wall of fear of multistoried green multihued mystery winding gear grinding curves of wide sweeping turns from the bend of the cutting. Deep dark gullies of eternal winter cold and damp and moss and the hilltops open to the warmth and the hilltops are drier. Round and round slow and lazy like time to observe and reveal all things hawks gliding to the swerve of the rising warm air and helical. And she missiles down from out of the sun talons extended and flashing bright and shinysharp and uncaring to kill the rabbit. For the weak must die. She has her own fingerlings to consider.

The factions and parties and elements are slipping apart and some called for civil union but equality like the call of accretion must be universal and absolute, or it shall not be at all. There can be no second rate no back of the bus no separate but equal and some brag of more or better morals the antiother.

Down down downity. Down shifting the hill glistening of the engine car ear aware of the sounds of human hand and mind made solidreal. The latest and the greatest. Down to Risdon Cove flat spongy sword beach of genocide invasion landing place. Flat past the sea historic ghost storey whipping post Richmond captive fictional Ikey Fagin named Artful Oliver oil twist and my baby girl not five years old was too scared to visit the gaol winding roads whaling rows windy ways sky sea sandy land matrix free hand mountain line steam smoke nickel smelter steam snow mountain cloud gathering oaken river wide and windy white capped waves  medieval tortured winter mandatory grapes cut down to silent size put in their prayerplace Mt Wellington gloomy table top overseeing Father cape town stern block head wooden top Pertrloo hero fire and smoke and soft spreading bullets tearing. And as we climb down the hill helter skelter the thin smelter yellowing mould wound in the corner of the we got trouble river city. The glue turns dry and brittle and the wall paper comes away from the wall and extends slow slowly. It lives. A nightmare of history. Unable to awake.

All for one and one for all for we are the mighty talon mighty  extending sweeping eagle eyed from silent down the sky unseen unheard hawks. And it all went off down urine one sixty pint of glumness rock on and bright orange vomit sort of an evening now a night of the book and a book of the night. Of dreams and absurd history culture 20 000 years and more and we are now fine again awake. The heartening of dreams and forgetting of horseshoe crab nightmares and turtles and stuffed open mouthed talon flashing fury of idioms messaging owls and glassy eyed Whiteley stare starting out opium calendar bay blue laden whirly surrealist shapes and pig cashable Normandy battle brash smooth stones loved. Hunks of hacked hair felt and simulated. Conversing with a stranger passion and the bluest cobalt blue excitement.

The Beatles White Album, the watusi second half from Birthday to Good Night almost the twist exact equity the time my house to old and new. Walking running playing dafter and son giggling imaging extending the iron work cement truck and here is where the rockets go. They make the truck go fast. Waiting Ticketing. High ceiling entrance. Down dark circle cycle stairs descending Dantesque subversive divine adult Disneyland comedy the walls hewn from bedrock the sewage tunnel hallway. Dystrophic future exoplanet factory setting. Addams family Gomez Cara Mia Crimea love house of rooms and arsenic and old lace old timey duchess and cabinets milk and ice cream mixed merchant seaman ti jean would scrapyard understand garage sale helter skelter football pell mell bob tail and tag rag and bone man Steptoe Sanford salvage and sons big fat timey wimey wibbly wobbly of next to next of side by side contrast and compare kaleidoscope that got away from me...

Radical harkening back to old stool timey museums set commode of the muses receding the circles of hell deep and deep dark dank past Tantalus...dug the ell-square pitkin. Poured we libations unto each the dead. Ply upon ply. Speaking to the shades shaking afore the shadows of what once was shades of long gone languages and spirits and gods and spirits and nymphs and each one alive and with a soul the river the tree the rock the prey the corn plundered gold rush the rubber terror or the sheep's back land grab given away not legal and the sealers mad the whalers and sooners and guano diggers and the carpet bagging money grubbers seizers of power and diverters of language. And now no more, so much no more. Never again. No more stories nor dreams. At the heart of this terror of smallpox gonorrhoea the bible bile and the boozy beggar bottle cheater of the ruse flag of the crafty one. No one despondent of Calypso pour libations and for the great king of the world of the world of protective mother and wavy cephalopod love unto fiery death no more and the pope sits in the frozen circle plug of icy cold hell as the mutinous angel Lucifer squats and farts for all time. No more. Gone for all time. Theatre of forgetting and bringing back to life with blood and wine to dialogue and which hand held this and painted this and concerned this. What maker?

Old skool nauseam and sacred silent place of dreamy wavy gravy chaired learners with pinned horseshoe crabs from boyhood home and crucified butterflies and great busted open shingle crystalline random slabs of geology and taxonomy on mortified branches well practiced taxidermy twittering birds of shimmering garish colour. The ordered shiny bugs the squatting ghouls and luck bringing fetish. Next to the this very afternoon up to date.  The cataloguing of the rapidly changing diving world the voice stifled the songs no longer sung. The craft left to gather dust of disuse. Lonely in drying drawers of humidity contoured basements. The counting and cataloguing of bumps and blemishes and gall shaped wounds to separate the ocean from the insane. The moving forward.

Dark and sharp labyrinth. Dedalus crafty artificer. The beast born of god ordained insane bestial coupling. Dedalus built wide shining apparatus Pasiphae Hathor white armed fine ankled cow eyed Hera. Kandinsky abreast side by side by Sondheim. Limestone CO2 hieroglyphics magic writing who carved and penned and concealed sanctified symbols and independent totem colour. Here Picasso and his mistress Dora Maar are the unwobling pivot. The masques of differing volume and intent and the modern up to date.  Rootless? Nihil tradition bebound to Beefheart repeat or to Stardust shock or simply to bore Joe six pack. Glad dark not glade gas candle optic illusion. Illusory sphere of light to passion and to touch to put out ones mind hand. Cretan octopus sarcophagus motif wide brawny curvy lines likes the roads that curve and wonder and switchblade jack knife through low hanging fruit mountain cutting hills.

Countless flies stuck to canvas thick and glittering bright in the light french polish of beetle wings cracking gold like the flowers like the darling daughter of Psapfo. Three photos put together a naked man lining down. Headless. A tiger on the prowl Flashman glaring at the Victorian viewer muggings ready to pounce. A group of world war soldiers shooting at an unseen enemy. The shoddier comrades all behind a quick thrown together barricade. Haystacks like the ones Monet painted, now lit by rifle shot and the angry flames jumping from seventy five millimetre hell mouth rapid fire cannon. A foot stool of a young woman crouched foetal ball disturbed the boy and resulted in a quick move to view the hand made Mercedes Benz  inspired coffin.

Cackle my unknown subscription to the redirection pleasures binary and cuneiform next to next face to face toe to toe heart to heart lumber up limbo down absorbing the beauty with my locked embrace stumble round eyes. Ancient some 4000 years ago what hand held and made what school boy held the stylus and when did she cut the shapes and words meaning numbers Krypteia secret codes of the precision caste. To dominate and monopolise knowledge of things that are and are not.

Tales of the ATO MONA send the messages atwitter and face book abuzz with abused bit and bytes and I let my small voice be heard in supporting the gallery.   And this. For the exhibit spoke to many of the things I hold close. The Greeks Joyce Hegel the helix the making of connections the tendrils of chemical interplay stretching and grasping one anointer skipping and sliding away and deforming in an instant and voices like my name being called in the wind. So the drunken liberal rush of drooling words and the droogy eruptions and wandering cul-de-sac rocks and the curves and the winding roads. This should not be viewed as criticism, I am not in a position to discuss the works from any sort of a mechanical point of view. However I can embellish the passage I made with my son through the gallery. I have tried to use words to dissemble the key features of the exhibit. This is a document of my impressions of the exhibit. The words are meant to convey the synaptic freeing of firing connections, to show the ramshackle exploration of making. Content and connection yet lacking in context notably a political narrative.

The grand knock 'em down fight to the finish no hold barred nature nurture. For we are, the philosopher wrote a species whose nature it is to be artificial. The great and melancholic Dane, sobbing into frigid Elsinore blasts. Down the generations down the centuries. if at the foundation of all there lay only a wildly seething power which writhing with obscure passions produced everything that is great and everything that is insignificant, if a bottomless void never satiated lay hidden beneath all -- what then would life be but despair? It is up to use to make the connections for ourselves, Theatre of the World invites us to, nay compels us to make connections.

The nine year old boy was able to pronounce the exhibit wizard.  As the mind of the child is still growing still plastic and striving after connection, how better to wander an exhibit of connections, but with a child.

My concerns are small and relate to context in the main. No political thread to allow us to return from the depth of the Minotaur born of sexual perversion and madness entombing labyrinth.

None to follow. The artists have only interpreted the world, in various ways; the point is to change it. We are left wondering, what is to be done?

Back to home threading the narrow town streets helter skelter smelter and the bridge and the airport and the pitt water and the mountains reflecting the sunset lagoon pinks and blues and browns and greens blurring the marriage of heaven and hell.

---

Dream Factory Manifesto

---

How can we speak of a dream factory?

Socialism?

Capitalism?

Classless Society?

What are our dreams? A better life, a life of co-operation, of working together.

What is a factory? A place to work, where things are made. From Blombos Cave to the Apple plants in the Special Economic Zones of the People's Republic of China, we come together to make things. Man woman young old black white. Work is what unites us, the coming together to work. Work must become play.

Even deeper work ((think elastically) and the complex of changes (social and physiologically) and feedbacks involved) created us.

Does work create language? Have women always done the bulk of the work? Did women create language?

Factory from the Latin factor. a maker, a doer, performer, perpetrator, one who strikes the ball.

We need to turn away from the dystopian narrative. We need to create utopias - we can write of utopia and mock the plutocrats.

Thomas Moore brought the word Utopia into being. The idea is old, older than the name, think of the utopian farces of Aristophones. In Cloud Cuckoo Land, Pisthetaerus chases away the poet, the town planner, the inspector, the oracle peddler, the law mason.

Pisthetaerus becomes like a God.

Utopia; what is the meaning? It could be outopia - no place, or it could be eutopia, good place. Does it matter? Moore gives us only utopia, teasing us or misunderstanding? Culture arises equally from the fact of not remembering the quote correctly as it does the note perfect recital.

Tales and myths, or so I am told, are powerful emotional tools that pass culture and morality down the ages. Let us not pass down the morality of our parents, of the police man, or an edginess that actually dulls.

Reject bourgeois concepts of conflict in literature! Let us build to our own climaxes!

I am not naive, but I seek to become naive.

Johnny Rotten sang "There is no future", it was implied but not understood, unless you make it yourself.

He also sang, "Your future dream is a shopping scheme." Let us write, let us spew, let us draw, let us extrude, sing, scream, paint, cry, act, shout, perform, build our dreams. For ourselves.

No more tales of junkie lusers - realistic and gritty as they may be, they only reinforce the power of Kapital over us, they only reinforce our alienation.

Reject the cult of violence and death. we are, our children are fed a steady diet of death, let us say enuf. Choose (as George Michael quaintly said) Life. Real active live work, as opposed to the concentration of dead labour.

Work going back the generations - something done, deed, action - weorc, worc, werkan, werk, verk, warc, werah, werk, gawaurki, vareza, ergon, orgia, gorc, verziu, vargas, vragu, waurkjan, wyrcan, wrikan, wrecan, yrka - and PIE *werg-. Also an urge, THE HUMAN URGE.

Do not be wishy-washy.

If you want to be cynical, do it properly, give up all wealth and possessions, live in a wine cask, do not eat meat, and see the knife as your friendly doctor.

If you wish to be a skeptic, again do it properly, doubt all things, even your own thoughts and experiences. Walk with friends who will save you from the cliff.

To create to make to do to act to play to dream. To struggle to win.

Be realistic, the graffito spoke to me, demand the impossible. The Dream Factory. The space where we build our dreams. A place of work and struggle.

A lifetime of compulsion. A dream of play. Two or three days a week at most, maybe a week in every six. Child care at the work place, schools serving breakfast and lunch, helpful police men and women dressed in natty grey uniforms with pink piping, passing out condoms, and directions to lost tourists, lovely and unarmed.

Philosophy has only interpreted the world, the point is to change it. Is not art a mode of philosophy? Is not art a love of wisdom, a way of interacting with the world. The point of art is to change the world.

The Dream Factory

As all people in all times of human history, we live in a new world,
a world that is changing rapidly. We live in a world where we are
surrounded by a glaring contradiction. A contradiction that the
various media savvy pundits and interpretors of the world fail to
mention. When they do attempt to face this contradiction it is only to
belittle and expose their own confusion.

What is this contradiction? That all things are made socially, but are
appropriated individually. (From the Latin meaning not to be divided.)
So all things are made socially, but not to be divided.

What does this mean to me? It means that the world is drowning in
wealth, yet I have to struggle to pay the rent. Google reports the
world GDP to be some 63 trillion dollars! And yet this wealth is not
to divided. How far would even one trillion dollars go towards feeding
the hungry, clothing the naked etc.

But even more than the things of the world we have created, even we;
our very selves are socially created. In a world dominated by fictions
of individualism and Robinson Crusoe stories it is sometimes difficult
to see ourselves as socially created products. But of course on the
most superficial level we can see we are born of preexisting
parents. The beginning of the production process being the production
of other human beings. And so much flows of this simple fact. All
language, all history, all economies, all education is a huge process
to create human beings, to create individuals. Sadly for the great
bulk of these individuals life is lived as a commodity. Not as what
they truely are, unique, real, actual human beings for in the some 4
000 000 000 years of this earth that strut and fret their hour on
the stage.

We are now in a world where we are on the cusp of the fabled 'Brave
New World', a world were energy can be drawn from the sun, from the
wind, from the heat of the earth itself. And yet too many argue that
we should never change. To my small position it seems that the
opposition to renewable energy comes more from a posture of not
wanting to give up their power. With solar for example people can heat
their houses, run their computers and more without the need to buy
electricity from the large corporations.

In this coming world of super abundance we must fight for a new order,
a new way of doing things. We should fight for socialism, a new type
of socialism were we understand that socialism must be the dream
factory.

Some simple demands we must make that will take a long way forward.

Free education for all. Education is key for anyone to become the
person they want to be, it is a right that everyone should be able to
go as far as they want.

An immediate cut in the hours of work. Solving the problem of
unemployment, and underemployment. This will allow people to work, and
to contribute to society, while also giving them the time to be able
to fulfill their love, love of family, love of knowledge. From a
Christian point of view all people are equal before God, and are made
in Her image. If this is to believed than why are some allowed to die
in the gutter, while others roll in incredible wealth. From an atheist
position there is no afterlife, we only have what is in front of us,
why should so many suffer and die, never to get their life back? Why
should this be allowed to continue just so some lucky few get to
increase their wealth?

Equal rights for all people. Nothing more needs to be said.

In this way we can edit Lenin to raise as a banner, Democracy plus
solar power equals socialism. True grassroots democracy. Democracy
based around where people live and where they work. No one should be
forced to give up their legal rights when they clock on to work. Many
people despair of the current political crisis, but many then turn to
the lure of facisim and dictatorship as a way to get past the
crisis. Many seem to despair of democracy, and then cry out to lessen
democracy. But of course falling into a dictatorship is easy, it
allows one to keep their head down, work and shop and all will be
well. However on the side of socialism we can only offer years of
struggle and hard work, years of vilification for an uncertain
goal. But this goal shall be the dream factory, shall be a world of
expansion and personal growth. The begining of history, not as the
right wing pundits will say the end of history.

As all political failures are failures of imagination it is important
for use to keep in mind that we need to create the dream factory.

entha kai entha

---

The sky father and pregnant bride
Rule the ebbing summer.
Hand in hand the upper ether.
Two outsreched fists reckoning
Some twenty degrees above
The horizon. 
                         A plane flies
Shrinking, to the northwest.
The sound waves move away
Further apart, engines become
A dulling and lowing lament.

The yellow and black honey bee
And the white winged butterfly;
Old man tattered, wings painted
Two small black full stop spots.
Hover and alight the same yellow
Weedy, boney, will to power 
Struggling  cracked cement
Verneal flower.
                             Of a sudden
A gust of wind whips across 
The parking lot and blows the 
Frail away. A child's soap bubble.

Here and there.

I walk the green fast growing
Daily sprinkled town water
Grassy church park. Four large black
Yellow paneled cockatoos 
Screech unworldly. Buffet and spin
This way and that, fighting and then
Catching the wind full speeding away. 

This is just a bunch of random images/thoughts jammed together. Ply upon Ply and all that...

Open the Curtains

---

Sure the gods can destroy anyone they wish at any time, but without devotees that gods become no more than a tale with which to scare naughty children at bedtime.

Open the curtains
Upon waking.

The children gently snoring.

The acute angle
Of the sun
Etches deep shadows
The covered with trees
Far off mountains.
Crisp cool moontime
Retreating.

Driving my love into
The city of work
(Her hell of alienation)
The overnight killed
Animals curl the warming
Blacktop - seemingly asleep.

---

Around 300,000 animals are killed on Tasmania’s roads every year. The death toll includes 3,000 Tasmanian Devils a year. Roadkill is a major threat to the survival of the species now that it is depleted by facial tumour disease.
Save Our Animals