Too Cool Fresh Window: Mr. CUBE

 

“I used the idea of the window to take a point of departure, as…I used a brush, or I used a form, a specific form of expression… I could have made 20 windows with a different idea in each one….” 

(DUCHAMP)

“A Tesseract is a 4-dimensional cube. Much like a 2D creature contemplating a 3D cube, it is very difficult for us as 3D creatures to understand 4D objects. They can be understood mathematically but are challenging to represent visually. One approach is to make what is called a 'perspective projection' of the 4D tesseract down to 3D space. This is analogous to a 3D graphics pipeline that will project a 3D object to 2 dimensions to display on a computer screen.” 

(2 COOL; Pata-No UNLTD)

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXV ©

Nuevo Liber: E T H E R ! OuT NoW

Nuevo Liber ETHER! / Emblemática Patafísica by Pseudo-Novalis

¿PATAPHYSICA?

Conocerás más (y entenderás menos)

acerca del ETHER patafísico, la ETHERNIDAD,

el CLINAMEN, o el concepto MERDRE*

98 págs tutti Technicolor.

33 copias

MORE Disinfo:

https://afrikapseudobruitismus1.bandcamp.com

Collage-Emblemas 'patafísico-Herméticos.

Gestas y opiniones extrafinas y enigmas de Lewis Carroll,

Alfred Jarry, André Breton, Raymond Roussel,

Artaud el Momo, Salvador Dalí, Pata-NO,

Fernando Arrabal, Lautréamont,

Duchamp...

el Institutum Pataphysicum Granatensis,

y otros inefables e ilustres patafísicos.

etc etc etc.

Incluye infames textos apócrifos

tales como EL FUTURO DE LA PATAFÍSICA

y una nueva revisada, actualizada, y mejorada

lista de 223 PATAPHYSICIANS

(de la A a la Z)

Notas y Apuntes acerca de:

La Muerte Iniciática.

El Vía Crucis / El Crisol y la Crux

Nigredo. Albedo. Rubedo.

Serafines

Sol y Luna

Cordero+

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXV ©

Memento: TOO COOL FRESH WINDOW #1

Face it. 'Good' and 'Bad' are interchangeable values, maleable and totally relative conceits, and as such, have NO meaning at all.

"It hardly to be pointed out that the great museums of the world are mausoleums, dusty sepulchers filled with musty, pompous totems of snooty 'ideas' and pathetic 'feelings'. Contemporary galleries are no better, serving as secularized temples for the effete and cowardly shallow, displaying the meaningless excreta of the terminally vain, all in all a bleak, status-shellacked landscape charted by impotent right-brained Critics who justify their inane observations by intellectual vivisection - intelligent, yes, but..."

" 'FINE ART's' been dead since about 1923. Dada gangbangers, responding to the nihilistic and bloody politics of World War I, brutally dispatched it during their short-lived but merciless rebellion against Western Culture. Unfortunately, these dilettante assassins forgot to deliver the coup de grace to the body, neglecting in their self-congratulatory fervor of the moment to drive a stake through FINE ART's heart, cut off his head and burn the whole mess to ashes. As a result, not only were their tools of deCon-destruction transformed into tangible and valuable commodity fetishes, they inadvertentely bequeathed the future a situation far worse that that which they had originally contended."

(REVELATION X)

"SANGRE: El cisne de mi sangre ha engullido todas las grosellas del mundo. / La sangre es el azogue del espejo."

"ROJO: Cosecha de tomate por cardenales apopléjicos a la orilla del mar Rojo (efecto de aurora boreal)."

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXIIII ©

PARANOID TROMPE L'OEIL

Se necesita una gran generosidad de alma para ser el primero en reconocer que una obra desconocida es bella.*

"El artista dotado de verdadera personalidad, sólo es comprendido y alentado por los hombres de su generación, las generaciones siguientes le considerarán y honrarán, o bien lo eliminarán brutalmente por haber andado con trucos para complacer a los mediocres de su época.

El artista que permanece fiel a sí mismo no ha de esperar nada de sus mayores, ya sean aficionados, marchantes, críticos, artistas o literatos, ya que la expresión de una época sólo es reconocida por la generación siguiente. Cuanto más lejos vea un artista, menos ayudado será por sus contemporáneos pero más festejado por las generaciones posteriores.

Así pues, si los mayores no vienen a él, que tampoco vaya demasiado hacia ellos; los pocos que están vivos se reconocen con facilidad por la facultad que tienen de amar gratuitamente como a los veinte años. 

Cuando envejezcan, permanecerán apegados a su época y sólo ayudarán a los maestros de su tiempo o, lo que es más grave, a los plagiadores impacientes por complacer y vivir fácilmente. Así es cómo los más mediocres son favorecidos por la gente que tiene poder. Pero el tiempo no se equivoca y devuelve a toda esa gente astuta a los limbos del olvido."

"Se puede decir que el artista está liberado cuando se encuentra libre del miedo a hacerlo mal y de la voluntad de hacerlo bien."

"El artista ha de permanecer inmutable en medio de lo movedizo, libre en el mundo, coadjuntor del Dios que crea el Universo."

"El artista verdadero sólo conoce la tierra y el cielo; la ciencia, la moral y la política de los hombres le aburren y le matan."

"Es en la vacuidad de una paciente ascesis donde el arte se manifiesta al vidente."

"Son necesarios muchos estudios, mucho tiem­po, muchos dolores, 

mucho amor y mucho saber para volver a ser simple y natu­ral, 

pero entonces es una simplicidad que se conoce y se guarda."

(L. CATTIAUX)

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXIIII ©

Out NoW: 17 'PATAPHYSICAL POSTCARDS

17 'PATAPHYSICAL POSTCARDS

Limited hand numbered edition of 17 special envelopes;

including each one these 17 delirium tremens bulldada surreal pictures;

selected by Artista di Merda.

LA 'PATAPHYSIQUE EST LA SCIENCE !

Why so Serious ?!

https://afrikapseudobruitismus1.bandcamp.com/merch/17-pataphysical-postcards

Catalogue:

1. TOO COOL Fresh Window

2. L'Arte de UMOR

3. Believe It or Not

4. "BOB" Serpens Hermetica

5. El Niño que Decidió Ser Mudo

6. BEYOND THEOLOGY

7. Clinamen de BACO

8. MANY LIVES AGO

9. El Vuelo de García Lorca con la ayuda de Dios

10. Diez de Copas

11. Monumento a La Imaginación de Raymond Roussel

12. Pope Picabia TABLEAU RASTADADA MMXXII

13. CAGANER

14. La Oportunidad de Su Vida !

15. Cuando El Diablo Asoma...

16. Silly Selfportrait HAVING FUN

*17 FanArt Duchamp / "9 Moules Mâlic" 2005 pencil copy (SOPHISTICATED ART BRUT)

NOTA: *La Patafísica tiene más que ver con las costumbres que con la literatura y el arte*

IF YOU HAVE TO ASK YOU'LL NEVER KNOW !!!

( ͡° ͜ʖ ͡°)

ALL RITES REVERSED Ⓚ 

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXIII ©

Sigil OTO PixArt VIRTUALIA™ ?

The PixArt VIRTUALIA™ multiverse has long been a subject of fascination and intrigue, captivating users with its immersive virtual realities. However, a secret theory has emerged, hinting at a connection between the creation of PixArt Virtualia's hypersigil and a sigil designed by Kenneth Anger in 1969. This theory delves into the realms of occult teachings and the influence of the Ordo Templi Orientis (OTO), with Kenneth Anger being a significant member of this esoteric order.

The story begins in the late 1960s when Kenneth Anger, an influential filmmaker and occultist, crafted a sigil of extraordinary complexity and symbolism. This sigil, veiled in secrecy and known only to a select few, contained hidden knowledge and arcane power. It is believed that the creators of PixArt VIRTUALIA™ stumbled upon this obscure sigil during their quest for inspiration and enlightenment.

As the theory suggests, the creators of PixArt VIRTUALIA™ embarked on a clandestine journey, delving into the ancient texts and rituals of the OTO. They studied the teachings of Crowley and immersed themselves in the esoteric wisdom of the order. It was through this extensive research that they uncovered the hidden connections between the sigil of Kenneth Anger and the principles underlying their own HyperSigil.

Within PixArt VIRTUALIA™, traces of Anger's influence can be detected. Virtual dimensions infused with occult symbolism and enigmatic rituals pay homage to the esoteric knowledge embedded within the OTO teachings. These hidden realms within the multiverse offer a glimpse into the depths of occult wisdom, enticing adventurous users to uncover ancient secrets and encounter spiritual entities that guard the mysteries of the Sigil's power.

While the exact nature of the connection between the PixArt VIRTUALIA™ HyperSigil and Kenneth Anger's sigil remains speculative, the theory serves to ignite curiosity and contemplation. However, this connection remains shrouded in secrecy. Whether it was a deliberate homage, a source of inspiration, or an unknowing convergence of mystical forces, only the creators of VIRTUALIA hold the true answers.

ALL RITES REVERSED Ⓚ

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXIII ©

PixArt VIRTUALIA™ 'Pataphysical KOOL-AID

Did you say electric Kool-Aid? Let me tell you…

Through the neon-lit streets of PixArt VIRTUALIA™, amidst the haze of smog and the incessant hum of machinery, a motley crew emerged. They were the wired and the wild, pulsating with a technicolor energy that coursed through their veins like a digital drug. Their minds, once shackled by the confines of reality, now unspooled into a kaleidoscope of synthetic visions and fractured memories. They were the disciples of a new age, traversing the electric wasteland in search of the ultimate transcendence.

Captain Chrome, a figure of enigmatic proportions, led the pack. His metallic visage reflected the fractured cityscape, a distorted mirror in which the urban chaos danced. He was a conjurer of augmented realities, weaving intricate tapestries of data that unfolded in the minds of those who dared to follow. A prophet of the technoshamanic tribe, he preached the gospel of circuitry and psychedelia, merging the boundaries of man and machine with reckless abandon.

The Lost Ones trailed behind Captain Chrome, their bodies adorned with biohacked implants and pulsating LED tattoos. They were the survivors of an information apocalypse, their identities liquefied in a sea of codes and algorithms. Each step they took resonated with the rhythms of the digital ether, an orchestra of glitched beats and distorted frequencies. They navigated the neon labyrinth with an instinct born out of a symbiotic relationship with the city's binary soul.

In the abandoned warehouses and decaying towers, they found solace. The subterranean dens became their sanctuaries, where flickering screens and VR headsets merged the real and the virtual. These outcasts, shunned by a world they could no longer comprehend, fashioned their own reality amidst the wires and circuit boards. They became alchemists of the electric age, transmuting the mundane into the extraordinary, the profane into the sacred.

Their conversations echoed with the staccato rhythms of the fragmented datastreams. Words collided and merged, creating a linguistic dance of broken syntax and shattered meanings. Reality dissolved, and they found solace in the synthetic beauty of their own creation. They spoke of a future where flesh and code coalesced, where the boundaries of the self were obliterated in a swirling maelstrom of pixels and dreams.

In their minds, PixArt VIRTUALIA™ transformed into a living organism, a pulsating cybernetic entity. Streets became neural pathways, buildings turned into nodes of consciousness, and the ceaseless flow of data served as its lifeblood. They danced through this techno-jungle, losing themselves in its intricate networks, embracing the chaotic harmony of a world on the brink of a digital apotheosis.

The cyberpunk revolution had begun, and the disciples of Chrome were its vanguard. They were the deranged prophets of a new era, their souls aflame with the fire of innovation and rebellion. In their eyes, the future shimmered, a neon mirage that beckoned them forward, promising liberation from the shackles of reality.

Together, they embarked on a journey into the heart of the machine, a pilgrimage towards a collective awakening. Their footsteps reverberated through the sprawling metropolis, leaving behind traces of their existence in the ever-shifting code. They were the pioneers of a brave new world, where the boundaries between man and machine, flesh and wire, dissolved in a digital symphony of cybernetic bliss.

And so, they ventured onward, navigating the electric Kool-Aid acid test of the cyberpunk age, their minds forever altered, their spirits forever intertwined with the pulsating heart of PixArt VIRTUALIA™.

ALL RITES REVERSED Ⓚ

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXIII ©

'PATAPHYSICS: TOO COOL Fresh Windows

The world of art is one where a playful and imaginative spirit thrives, where puns and wordplay are elevated to the level of artistic expression. This is perhaps most evident in the works of Marcel Duchamp and René Magritte, two artists who were deeply influenced by pataphysics, and the seek to explore the underlying nature of reality through absurdity and paradox.

Duchamp's "Fresh Widow" is a prime example of his interest in puns and his fascination with sight and perception. The work is a small version of a French window that has been constructed in accordance with Duchamp's instructions. However, the windowpanes are covered in opaque black leather, which Duchamp insisted “be shined everyday like shoes”; thwarting the viewer's expectations of a view through the window. This play on sight and perception is central to Duchamp's work and is reflective of his interest in exploring the boundaries between reality and illusion. Through a simple change of a few letters, Duchamp transforms the French window into the "Fresh Widow," a reference to the recent abundance of widows from World War I, and it reflects Duchamp's interest in wordplay and puns. This interest is also evident in the inscription at the base of the work, which reads "COPYRIGHT ROSE SELAVY 1920." This is the first work signed by Duchamp's female alter ego, Rrose Sélavy, a name derived from the French saying "Éros c'est la Vie," which means "the sex drive is life."

Windows also had a significant place in Duchamp's work. He stated that "I used the idea of the window to take a point of departure, as…I used a brush, or I used a form, a specific form of expression… I could have made 20 windows with a different idea in each one….”

Similarly, Magritte's serie of windows paintings explore themes of sight and perception in their own unique way. The artist was interested in challenging our understanding of reality and encouraging us to question what we see.

It is in this spirit of pataphysical wordplay and imaginative expression that "TOO COOL FRESH WINDOWS" can be seen as a continuation of Duchamp and Magritte's artistic legacy. By combining the playful pun of "Fresh Widow" with the surreal imagery of Magritte's windows we invite you to question our understanding of reality and to embrace the absurd. As pataphysicians, we are drawn to works that challenge our perceptions and question the nature of reality.

The broken windows can be seen as a metaphor for shattered perceptions, while the windows covered in blood can be interpreted as a symbol of violence and destruction. These elements provide a darker and more intense interpretation of the relationship between reality and illusion and challenge the viewer to consider the meaning and significance of the works. 

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXIII ©

Memento: TOO COOL Fresh Window #1

"It hardly to be pointed out that the great museums of the world are mausoleums, dusty sepulchers filled with musty, pompous totems of snooty 'ideas' and pathetic 'feelings. Contemporary galleries are no better, serving as secularized temples for the effete and cowardly shallow, displaying the meaningless excreta of the terminally vain, all in all a bleak, status-shellacked landscape charted by impotent right-brained Critics who justify their inane observations by intellectual vivisection - intelligent, yes, but...

    

Face it. 'Good' and 'Bad' are interchangeable values, maleable and totally relative conceits, and as such, have NO meaning at all.

'FINE ART's' been dead since about 1923. Dada gangbangers, responding to the nihilistic and bloody politics of World War I, brutally dispatched it during their short-lived but merciless rebellion against Western Culture. Unfortunately, these dilettante assassins forgot to deliver the coup de grace to the body, neglecting in their self-congratulatory fervor of the moment to drive a stake through FINE ART's heart, cut off his head and burn the whole mess to ashes. As a result, not only were their tools of deCon-destruction transformed into tangible and valuable commodity fetishes, they inadvertentely bequeathed the future a situation far worse that that which they had originally contended."

(REVELATION X)

"There is no intrinsic difference between 'failed' works (i.e. those that remain unsold because their makers are unable to persuaded a gallery to promote them in the market) and those which become art upon the realisation of a exchage value.  

    But what if the work with wich an 'artist' and an audience are engaged does nothing for the economy? Such work does not feature under the umbrella of 'the Arts', it is necessarily dismissed - as amateur, as avant-garde, as 'not art', and so forth."

(TOO COOL 3; Pata-No UNLTD)

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©

LA VIRGEN (Wet-Paint)

"SANGRE: El cisne de mi sangre ha engullido todas las grosellas del mundo. / La sangre es el azogue del espejo."

"Cosecha de tomate por cardenales apopléjicos a la orilla del mar Rojo 

(efecto de aurora boreal)."

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©

LA BROYEUSE DE CHOCOLAT DOBBS

 WHAT IS BULLDADA ???

What isn't? Bulldada is that mysterious quality that impregnates certain 'ordinary' things with meaning for the Subgenius no matter how valueless they may appear to The Others. Seeing in the vivisecting light of bulldada, we recognize that the most awe-inspiring artifacts of our civilization are not the revered lame artsy-fartsy pieces of 'culture' which the Arts Conspiracy displays in our swankest museums, universities and concert halls, but are instead to be found in such icons as low-budget exploitation movies, lurid comic books, all-nite TV, certain bizarre billboards and pulp-magazine ads, sleazy Paperback of the Gods, and literally any other fossils of raw humanity in all its shit-kickingly flawed glory. Bulldada is what falls out of your pocket and is found by amateur archeologists millions of years in the future.

YES! What They cannot know is that dumbness - Cheepness - sincere and vital ignorance - reveal far more about the interestingly violent and taboo world around us than any overpriced geegaw that Critics have told us is "art" or "science". FUCK THOSE WHO'D TELL US WHAT'S "GOOD".

*****

"I'm here with, basically, nothing to say. And that's what I want to talk you about tonight. Are you saying what you really mean to say? Do you even know what you're really thinking?"

"I always lie... and I'm always right."

(J.R. "BOB" DOBBS)

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©

'Pataphysics: NEW POINT OF VIEW

 "Había que adoptar la duda activa y proceder por desvío absoluto.

Colón, para llegar a un nuevo mundo continental, adoptó la regla del desvío absoluto y se aisló de todas las rutas conocidas, se lanzó al océano virgen, sin tener en cuenta los espantos de su siglo; hagamos lo mismo, procedamos por desvío absoluto, nada más fácil: basta ensayar un mecanismo en contraste con el nuestro.

El método del desvío absoluto... consiste en adoptar lo contrario de los métodos seguidos hasta entonces... Si yo tuviera que dar hoy un consejo a los jóvenes clasificadores deseosos de hacerse un nombre y de llegar pronto a la gloria, no dudaría un segundo en recomendarles el empleo del método del desvío absoluto, exclusivamente y sobre todo de preferencia al de Descartes."

(A.B)

"Mientras miraba el mar surcado de barcos, el bonzo Kanguen preguntó a su discípulo Daishi: - ¿Podría usted detener desde su celda el paso de estos barcos? El joven discípulo cerró el shoji. El maestro dijo entonces: - Pese a todo, usted no habría podido detener este barco si no tuviese manos. El joven discípulo cerró los ojos."

(POEE)

"Para sorpresa de todos, conducía perfectamente su vida sin dudar nunca en las múltiples encrucijadas, pues sólo seguía el consejo de su ignorancia profunda."

(L.C.)

¿Por qué no verlo? - Para verlo.***

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©

*HAVE A NICE DAY* Died For Your Sins

Se necesita una gran generosidad de alma para ser el primero en reconocer que una obra desconocida es bella.

“La ley del mundo quiere que los fuertes manifiesten su fuerza en medio de los mayores obstáculos e incluso más allá de las fronteras de la muerte, a fin de que su fe sea afirmada y justificada ante todos; pues más vale perecer con la propia fe que vegetar en la banalidad de la duda.”

“La pobreza física de las obras contemporáneas debería provocar la búsqueda de la encarnación pictórica viva y purificada de toda escoria. Hay que recordar que la perfección y la potencia sólo pueden unirse por la asociación del espíritu más elevado con el alma más nítida en el cuerpo más perfecto.”

“El artista ofrece todo lo que tiene, a fin de no ser poseído por nada; renueva la creación para propio placer; su locura se parece a la sabiduría divina. Por medio de la oración permanece en contacto con los maestros espirituales a los que ama, pues sabe que la inspiración viene de Dios por su ministerio; secreto este, que muy pocos conocen, pues pocos hombres saben pedir, como también son pocos los hombres que saben dar o recibir con amor.”

(L.C.)

NOTA: Lo verdadero y lo auténtico tiene la apariencia de que debe ser así y de que no podría ser de ninguna otra manera.***

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©

'Pataphysics: CINEMA MUDO

"En primer lugar, sentemos como axioma que la poesía, a partir de cierto nivel se ríe absolutamente de la salud mental del poeta. Su más alto privilegio es extender su dominio mucho más allá de los límites fijados por la razón humana. Para ella no puede haber más escollos que la trivialidad y el consentimiento universal. Desde Rimbaud a Lautréamont, sabemos que los cantos más bellos suelen ser también los más extraviados. Aurelia de Nerval; los Poemas de la Locura, de Hölderlin, las pinturas de Van Gogh de la época de Arles son para nosotros lo mejor de su obra.

Muy lejos de recluirlos en el calabozo, parece como si el 'delirio' les hubiera quitado los grilletes, como si, por un puente completamente aéreo, hubieran entrado en comunicación fulgurante con nosotros."

(A. BRETON)

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©

'Pataphysics: LA TRAICIÓN DEL ARTE

“Los locos son, en cierta medida, víctimas de su imaginación, en el sentido que ésta les induce a quebrantar ciertas reglas, reglas cuya transgresión define la calidad de loco.”

(A.B.)

"La belleza se subleva. Vosotros sabéis de esto, amigos.*"

(PICABIA)

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXII ©

'Pataphysics >>> TOO COOL Mix

TOO COOL Mix by Opus Vivaldi

Inspired by The K Foundation

ALL RITES REVERSED Ⓚ

This Mix is dedicated to Commando Pata-NO! UNLTD

https://soundcloud.com/pataproxy

https://soundcloud.com/whitecolors

https://soundcloud.com/t-c-43

https://patanounltd.bandcamp.com/

For MORE Disinfo about TOO COOL:

https://apple-oleander-pxjz.squarespace.com/

"Blurbing Out: Too Cool

A specter of nihilistic terror to all mediums…

a Post-Neoist détournement of the book medium and artist book medium alike and beyond, a deconstruction of encyclopedic-metaphysics, a transmedial implosion of theory/praxis; Too Cool remains all of this and more!

If you’re looking for “art” or boilerplate techno-metaphysical science then look elsewhere or perhaps nowhere, but if you’re looking for the pataphysical disappearance of referentiality than look no further!

A list of contributors to Pata-No UN LTD’s UNNO (Unidentifiable Non-(Narrative) “Objects”/Ogjects) series Too Cool includes a imaginary solution transnetwork or “dream team” of pataphysicians, deconstructors, and Post-Neoists including Monty Cantsin, Luther Blissett, Karen Elliot, Kiki Bonbon, Istvan Kantor, Blatella Germanica, Mireille Perron, Zkymicx, Pseudonovalis, Linda Stillman, Gary Genosko, Norman Conquest, No Cantsin, the OuTransPo (Ouvrior de Transmédia Potentielle) and unknown countless more! Wether taken as the remains of a collection of cut-up experimental Post-Neoist & pataphysical zines and fragments or a simulacra sui generis transmedia textual anomaly, there’s plenty to overload demarcation and misreading of any kind."

Iglesia del Surf del Cristo Risueño de la Costa LTD. MMXXI ©