Le Facteur Cheval du XXIème siècle !!! À ne pas détruire, une trace de notre siècle !!! Extrait du livre “Honte à vous”
consider a anagogic analysis of the Abode?) the question of death and destruction of the Abode of Chaos, putting aside its juridical accep tance, reminds us of the delicate issue of immortality in art. Will it be able to go through centuries, to finally become a protester monu ment? We are aware of the prophetic powers of the Abode, its future will draw itself through the me dias that are always attuned with their current era. Art evolves with its time and has created new lan guages and new codes. More than ever, the Abode of Chaos, demar cating itself for its pro tean aspect and its mastered utilisation of mix media, turns to experimentation. We will make ours these words from Gene Youngblood “all art is experimental, if it isn’t it’s not art”. Video has become a natural extension of a global thought process on our world and is a most appropriate tool. The de materialization of art imminent ly brings us closer to the divine Ether. A filmed image, spread on a large scale through the contempo rary brain which the Internet has become, will be our virtual reality. The Internet is actually a meta phor of the Divine, not to say the Divine itself, and opens a pletho
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ra of doors for artistic expression. Cyber art is slowly emerging. The Abode of Chaos will become digi tal, or won’t become at all. It will therefore annihilate all geograph ical distances, surpass censorship, and become a temporary autono mous zone, a piratic utopia very dear to Hakim Bey, interactive and instanteneous, omnipotent and uncontrollable. Its dark entrails will remain gaping for whoever wishing to enter, always welcom ing avant-garde artists, perform ers, mutants and creatures. The Abode of Chaos is in constant ex pansion and spreads its germs all over the world. From east to west, Bunkers and containers are land ing here and there in a multi tude of head quarters and rallying points. The broadcasting has now been launched. The artistic theory of chaos, autodestructive or not, is slowly seeing its manifesto becom ing reality. In either way, its extension will be rhizomatic, complex and diffuse, soluble and dissolute, spreading like a retrovirus (contaminat ing its detractors) in our social and artistic environment. Finally, feeding upon chaos (of current events, of the world gone back to its Hobbesian “state of permanent war”) this inexhaustible source of creation, will defy infinity.
metamorphose