OCR Labyrinth

Nlchl

Hlnauslehnen!

Ne

pas

se

pencher

au

dehors

E

perlcoloso

sporgesl!

Danger!

Do

nol

lean

oui!

De!

är

livslarllgl

a"

lulu

slg

ul!

Nlel

naar

buiten

hangen!

Paris,

a

wi'ches'

cauldron

oi

poli'ical

instigalions

and

demonsh’a'ions,

armoured

car:

in

rhe

slreels,

the

bloody

shadow

of

lhe

AIgerian

war,

OAS,

FLN,

clearing

murders

and

îorîure.

Slrikes,

Police

raids,

censorship,

no

gallic

clarify

but

a

dark

wilches'

9rial,

shoo-

îing

and

reprisals,

many

dead

and

wounded.

Paris,

where

aur

Conseil

Central

hold

a

mee'ing

in

îhe

Internationale

Situa'ionniste

lhe

10th

and

llth

February

1962,

129

Boulevard

Saint-Germain

—-

even

here

bro'her

againsl

broîher!

The

conseil

central

of

lhe

IS

hos

8

members:

Dieler

Kunzelmaan

Germany,

Jacqueline

de

Jong,

Hollandl

Ansgar

Elde,

Swe—

den,

Jôrgen

Nash,

Denmark,

Guy

Debord,

France,

Uwe

Lausen,

Germany,

Ahila

Kolanyi

and

Rooul

Vaneigem,

Belgium.

On

lhe

very

first

day

of

the

meeting

a

reviously

printed

ultimolum

was

presenîed

by

ihe

four

las?

named

members

declaring

f

e

German

group

of

artists,

(Slurm,

Zim-

mer,

Prem,

Fischer

and

Kunzelmann]

excluded

in

rhe

nome

of

lhe

Conseil

Central.

Those

four

o

as

far

os

îo

accuse

cf

"fractionisî

oclivily

based

on

o

sysfemalic

misunder-

stan

ing

of

îhe

situationnisl

lheses

That

is

precisely

whaf

lhey

themselves

mighl

be

denounced

for,

if

we

chose

îo

adopl

rheir

iesui!

melhods.

We

came

îo

îhe

meeling

also

pre

ored

fo

criîizise

lhe

SPUR

members,

but

in

quile

onolher

wayc

We

proies!

ogainsl

all

îinds

of

fraclionist

acliviîy

wilhin

lhe

lS.

In

fhis

council

meeting

in

Paris

we

were

confronled

wiîh

a

fait

acompli,

which

made

an

empîy

farce

of

îhe

enîire

meeting

An

organizaîion

whose

essentiel

decisions

are

not

based

on

lhe

principle

of

debate

is

lololilcrion

and

does

no?

agree

wiîh

our

rules

of

collabora-

tionr

This

was

a

fracîionisî

anock

againsl

us,

which

is

unaccepfable

îo

lhe

silualionnisls.

To

call

in

comrades

from

other

counfries

only

lo

hand

ou?

a

rinled

leaflel

is

a

no?

very

positive

melhod.

Il

can

be

explained

only

as

an

oufcome

ofîhe

non-activify

policy

of

lhose

four

members.

This

i5

no

good

amen

forthe

future

of

our

movemenî,

lnrernaîionale

Situationnisfe.

If

is

no?

only

poimless

bu!

ridiculous

indeed

ro

pull

lhe

emerqency

brake

when

lb.

train

has

already

stopped.

Paris

13"!

February

1962.

Jacqueline

de

long,

.lôrgen

Nash,

Ansgar

Elde

a

,w-m;;‘ge‘

—\

‘

v

'L..-

Mm:

c

.__-..

Mm

‘BRIEF

tu

mamie“

.

7.

I‘

l

.

,letentoiohon:

1o

u

Je

2505/61

'

peglaublgte

Abeonru

1o

c

Je

261c

a—d—/61

la

don

Barra

Antsrichter

bain

Antagoricht

Strargericht

ü.n

c‘h

e

n

'1.

mfynﬁre

1)

K

u

n

e

n

a

n

Dieter

2)

S

t

n

r

aelmut

5)

P

r

e

n

Heinraﬂ

3j!"

6/41

I.Besch1uB

des

Amtsgerichts

München

geboren

am

14.7.59

in

Bamberg,

lediger

Schriftsteller,

deutscher

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wohnt

in

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15,

Bauer-

atr.

2“

(Keller)

Eltern:

Otto

u.

Ama1;e

K..

geb.

Ketscher,

—unbestraft-

geboren

am

21.2.52

in

Furth

i.

ﬂald,

lediger

Maler,

deutscher

Stà..

wohnt

in

München

2,

Thorwaldsen—

sur.

5/IV,

Éltern:

ﬂans

und

Hermine

3c.,

gebu

Lemberger,

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geboren

am

27.5.54

in

Roding/Opf.,

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Kunstmaler,

deutscher

StA.,

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in

München

5.

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81/1

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Eltern:

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VERLO

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DIE

S

Des

cedicht'ist

srob

unzüchtïg

und

5011

naoh

der

Melodie

des

Weih—

nachtsliedea

"stille

Racht,

heilige

Nacht"

gesungen

werden.

Dde

ge-

samte

Zusemmenstellung

stellt

durch

ihr

Nechäffen

der

zehn

Gebote

Gottes

und

eines

religiäeen

Liedeb

eine

Besehimpfung

der

beiden

groBen

chrietlichen

Kirchen

der.

4)

In

dem

Aufeatz

"Hommage

ä

C.G.

Jung"

(S.

16)

vergleicht

der

Ange;

schuldigte

Knnzelmegp

dan

Schatten

einee

K1rchturms,mit

einem

Phallus.

nann

achreibt

er

u.a.

"Dir

habe

1ch

es

zu

verdanken,

deB

1ch

noch

nicht

due

Axiom

der

Maria

assozi'iere

mit

Koprophagie..."

Anch

dieaer

Setz

beschimpft

durch

seinen

Hinweis

auf

des

"Kot—eseen"

die

Marien-

verehfung

und

damit

eine

Einrichtung

der

rëmiach-kaÿhoiischen

Kïrche.

Heiter

unten

(S.

17)

heiBt

se:

"wenn

Du

nicht

bei

mir

biat,

iet

Dein

Tulku

bei

mir

Buddha

und

christus

werden

von

Sekten

für

einen

Tulku

gehalten

und

wir

unter—

halten

une

durch

xenogloaeie.

Wir

werden

im

këniglichen

Inzest

des

güttliche

Kind

zeugen

und

von

Ganzheitssymbolen

überschwemmt

werden.

"Mandele,

Trinität.

Hermaphroditus"

"Cohabitatio

von

uterus

und

penis

iet

nur

des

Bild

einer

Conjunktio

oppositorium."

Einige

Zeilen

weiter

unten

wird

Christus

als

Hitzkopf

bezeichnet

und

u.e.

mit

Iwan

dem

schrecklichen,

Hitler,

Lenin

und

den

Angeschuldigten

Prem

und

Zimmer

auf

eine

stufe

gestellt.

AuBerdem

heiBt

es

u.a.:

"Der

BeachluB

über

die

Konfiszierung

von

kureierenden

Flugblättern

in

südemerikanischen

Bordellen,

auf

denen

dargestellt

ist

wîe

Christus.

der

psychologisch

leicht

zu

beweisenden

wehrheit

entsprechend,

von

eeinen

eigenen

Tugenden

ans

Kreuz

gesehlagen

wird,

iet

nient

ein-

etimmig

gefaat

worden."

Mit

diesen

Auaführungen

wird

dia

Christus—

verehrung

and

damit

eine

Einrichtung

eämtlicher

christlichet

Kirchen

beschimpft.

Die

Zeichnung

daneben

(S.

17)

9011

offensiehtlich

eine

Beiachlafszene

darstellen,

während

auf

s.

20

unten

eine

Entkleidungs—

ezene

("Tu

des

nicht,

Angelika“)

angedeutet

iat.

5)

Auch

der

auf

s.

21

ebgedruckte

"Brief

einee

zurückgebliebenen".

von

uwe

Lausen

(s.

Anlage

s.

3)

hat

einen

unzüchtigen

and

gottes—

läeterlichen

Inhalt.

Texte

sue

der

ueBIiturgie

nie

"gloria

in

exhlsis

Deo"

"halleluja"

"sanctua,

aenctus,

sanctus,

nominus

Deue

Sabeoth"

bzw.

ana

der

Passion

Jean

Christi

"main

Gott,

main

Gott,

warum

hast

nu

mich

verlassen?"

sind

in

dan

grob

unzüchtigen

("während

ich

einen

steifen

bekam...

nur

bei

Huren

ist

der

steifa

aofort,

wes

mieh

be-

trifft...

wurde

naﬂ,

main

Penie

echlaff")

und

ordinären

("main

tunqnecàdà

deüpfteÿ)‘éekt

singeiugt.

Zum

T911

werden

liturgiache.Ïexte

:jiphùldﬁzmiêﬁei

nuise

(bien

heule,

aber

meine

Hilfe

ist

fera")

nachgc-

agi;

msènç'tat

pues.7w911

es

ihm

n‘aide

meehté

"bestimmte

Stellen

'Ëäuè

dep.ueaüe

der

Ketholikeh

mit

Pornographischem

zu

vezmiachen"

_3gññ-ez'd1esenadegenaatz

"reizvoll"

findet.

nie

Angesohuldigten

und

,peueeg

kannteñ

dan

unzüchtigen

gotteelästerlichen,

beechimpfenden

and

Âigeâdïe

erregenden

Chârakter

diesee

Aufeatzes.

x

_

'6)

seïe22'enthä1t'folgende

Zitatez

“Dein

Busen

hängt

heraus"

"eh!

esen

wilden

uänner1_31e

sind

eo

etark

1m

Bett

oh!"

(Daneben

bqfindet

eieh

eine

Zeichnung,

die

den

Begattùngeakt

endeutet.)

Auﬂerdem'ist

uhter

der

Uberechrift

"Sitùationietischea

Abendmahl"

-eïne

skizze

zu

eehen,‘euf

der

dia

einzelnen

Teilnehmer

des

“Abend-

ﬁable"

mit

vorten

angedeutet

bzw.

charekterieiert

eind

wie

folgt:

"sehnarchen-stôhnen-Rülpsen—vﬁgeln—Schmatzen-Ethik

mangelh-Luxuekusse-

Schleim-Kaffaeund

Eusee—Moral—Gnede-Bauhaus-ScheiBe-Geigen-Âethetik-

'Dae

schüne

and

des

Heilige."

Au;

einer

weiteren

Zeichnung

segt

Gin

uenn

zu

einem

Mädchen:

"was

nain

iet,

iat

Hein.

Aber

waa

Hein

iet

gent

Ddch

einen

Dreck

an.“

Des

Mädehen

antwortet:

"Du

Don

Juan."

D13

zitete

aind

unzüchtig.

nerüber

hinaus

wird

in

ihnen

des

"Aband-

mahl"

und

damit

eine‘gleichnamige

Einrichtung

der

christlichen

Kirchc:

durcb

dis

Art

der

zueamnenetellung

mit

ordinärsten

Ausdrücken

euf

unflätigste

and

widerlichete

weise

beachimpft.

An

dem

Inhalt

des

Heftes

nehmen

verschiedene

Personen,

nämlich

der

italienische

staatsangehôrige

Ferrari

eowie

mehrere

Angehärige

des

Ordinariats

des

Erzbietums

München

und

Fraising

wegen

des

unzüchtigen

Charakters

des

nettes

und

wegen

der

Ausführungen,

in

denen

entweder

Gott

gelästert

(s.

5,

1o

u.

17

=

hier

Punkt

1,2,3

u.

4)

oder

die

katholieche

Kirche

und

Einrichtungen

(S.

5.9.17,21

u.

22

=

hier

Punkt

1,4,5

u.

6)

beachimpft

wird

(Bl.

102

u.

103

d.A.).

Anstoû.

Etwa

700

Examplere

des

Heftee

"SPUR"

Nr.

verechickten

die

Ange-

achuldigten

an

nach

ihrer

Aneicht

hieran

interessierte

Personen

in

Frankreich,

Iarael,

Guinea,

Kanada,

Holland,

Belgien

und

Skandinavign.

Zuei

Exemplare

gab

zimmer

1m

0ktober

1961

an

die

Buchhandlung

Lehmkutl

in

uñnchen

23,

Leopoldstreﬁe

in

Kommiesion,

holte

sic

jedoch

wieicv

‘ab,

de

sie

nicht

abzusetzen

waren.

An

12.9.1961

belieferte

Prem

dia

Buchhandlung

neck—Huile

iq

München,

Theatinerstraae

29

mit

ehenïalls

ï

H

t

"

Du

dich

Hand

N

n

dali

‘I'o

:Y‘“

13'

1b

1,.»_.

-.._._

,,

n

'/4

I/4

No.6

Mesh

Rua?

Proof

Scr

en

c

Solder

toä

2"

Sleeve.

-—

<3

DET.-—A

:

“N

(—3

/Secm

tÿg

24

Goqe

Golv

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Mefol

/Seom

by

overlop

l

4-

/I6X/2x3/2

Meml

and

5Mî

we'd

Straps,

Weld

to

Cover.

4

-

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Self

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Meîol

Screwa.

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W'eld

îo

Sleeve.

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2

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metol

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I/2

E»

il

Bol!

and

nuî.

l__4_k

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..._

ià.

3'/2"inside—Tom

3"Std‘piper

NOTES:

STUDIES

OF

FALLOUT

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THAT

MOST

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l5

ASSOCIÀTED

WITH

THE

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HAVING

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WEATHER-

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AIR

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me

musu—

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cuan

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Siegfrïedatr.

11/1.

Eltern:

2m

und

Imam

z.,

set.

‘Relfa,

'

«armature-

.\\

r9

h

”

“t

durch

2

eelbstëndige

Handlungen

1)

durch

du

gleiehe

Tet

_

q)

unzüehtige

Schriftcn‘teilgehalten,

verhu'ft.

"mm.

an

Owen,

2)

b)

welche

du

mnm

“ganglion

Bind.

eussestellt

odor

tonne

venu

breitet,

une

ne

au

ancre

'der

Verbreimg

bagatelle

ode:

au

densean

vouütig

39men.

angekûndigt'

ode:-

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prieeen

|

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dedmh,

un

.1.

arrontncn

nvbeschs‘nptenaen

lnse‘rnngen

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lanterten,

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hernie

ses'eben

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oueds:

..

ohrintlichen

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oder

ilu'e

Enrichtung

oder

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be-

achinpft

und

‘

ôrfentllch

nnd

duroh

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van

menton

3mm:

beletugt

n

hahen.

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Ils

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96.16

der

enderweifïg

verfolgte

Laueen,

gegen‘

aﬁn

e13

secondertés

ÿerfahren

var

dem

AG

Iünehen,

Jugendgericht

duriïsefühxt

nirdl

aind

Angehüæige

einer

loeen

Kunatlergrùppe,

die

l19h"Gruppe

SPÛRP'nennt,

Ale

ihie

Adfgabe

betrechtet

dieae

Grappe

Idie“rropnglerung

aine:

"neuen

Idee"

au?

allen

Gebieten

der

Kunst,

insbesondeçe

dis

Revolùtionierung

der

deutechen

Literatur.

Der

achriftlichen

Hiederlegung

dieser

Gedanken

dient

die

in

unregelmäûi—

ger

von

den

Angeschuldigten

in

wechselnder

Redaktionsbeeetzung

herauagegebene,

gleichnamige

Zeitechrift

"SPUR".

nie

Hefte

1

u.

2

der

Zeitschrift

"SPUR"

weisen

zwar

nihilistisch—

anarchietieche

Tendenzen

auf,

in

strafrechtlicher

ainsicht

aind

31e

jedoch

nicht

au

beanstanden.

Des

Heft

liegt

nicht

vor.

Bas

Heft

4

bringt

einen

Artikel

"Der

Kardinal,

der

Film

and

die

Orgie",

in

dem

der

Angeschuldigte

Kunzelmann

in

wirren

SËtzen

orgiastische

lèste

und'ekstetische

Spiele,

die

auf

der

aktiven

Teilnahme

aller

beruhen

aollen,

in

den

Kirchen

fordert.

Eine

unzüchtige

und

gotteslästerliche

Tendenz

161;

hierin

bereits

erkennbar.

Seite

12'

des

Heftea

4

und

die

letzte

Unecblagseite

des

Heftes

5

enthalten

die

unzüchtigen

Sätze

beginnt

man

den

Frauen

unter

die

Rôcke

zu

greifen"

und

"Leider

iat

er

nient

echwul".

nie

angeführten

Stellen

werden

Jedooh

vom

ubrigen

Inhalt

der

beiden

Hefte

noch

neutralisiert.

Bereits

vor

der

Herstellung

des

Heftes

5

wurden

dia

Angeschuldigten'

von

dem

Justitiar

der

Süddeutschen

Zeitung,

Recbtaanwalt

wenk,

ein—

drlnglich

‘gewarnt

und

darüber

belehrt,

daB

ihre,

pubuxèationen

unter

umständen

ale

unzüchtig

und

gotteslästerlich

augesehen

werden

känn-

ten

hnd

aie

daher

Gefahr

Iiefen

deswegen

bestraft

zu

werden.

Trotz

àieser

von

einem

Pachanwalt

erteilten

Warnung

brachten

die

Angeschul-

digten

die

nummer

6,

die

nach

ihrer

Ansicht

einen

Hähepunkt

der

künst—

loriechen

Entwicklung

ihrer

Grdppe

darstellt,

heraus.

Nr.

enthält

jedoch

zahlreiche

zu

beanatandende

stellen4

nie

Angeschuldigten

waren

sich,

nie

der

Artikel

"GRUPPE

SPUR

IM

EXIL"

(8.4)

beweist,

über

den

unzüchtigen

und

gotteeläaterischen

charakter

dleser

Nummer

1m

klaren.

31e

nenhten

nämlich

ale

zukünftige

"Anklagepunkte"

einer

gegen

aie

ansebllch

eingeleiteten

Verfolguhg

u.a.

Gottesläeterung,

eittlichkeits—

gefährdendee

verhalten,

Verführung

der

Jugend.

Beleidigung

dreier

Biechüfe

und

des

päpstlichen

Nuntiue

in

uünchen,

aniireligiëse

Tätig—

tait

and

Verbreitung

von

Zeitschriften

pornographischen

Irhalte

(a.

überﬂetzupg

Dl,

40);

1'

Internationale

situationniate,

skanâinaviske

sektion,

Strämmen

22,

Randers.

Danmark.

Den

4.

april

1962.

Til

redaktionerne

af

dagblade

kunsttîdsskrifter

i

Skandinavien.

Foranlediget

af

et

flyveblad

som

digteren

Järgen

Nash

har

udsendt

mod

avantgarde—beÿægelsen

l'

Internationale

situationniste,

beder

v1

Dem

venligst

bringe

til

Deres

læseres

kundskab

at

digteren

Jergen

Nash

er

blevet

ekskludere:

bevægelsen,

han

har,

som

det

fremgàr

af

vedlagte

proklamation,

gennem

vor

bevægelse

szgt

et

under—

stette

en

kreds

af

privatsamlere.—

Denne

handling

strider

mod

bevæ—

gelsens

teorier,

der

netop

er

baseret

pâ

at

fâ

kunsten

ud

af

den

pri—

vatkapltallstlske

Dlînagyue

hvorl

den

Er

navnet

pä

grand

af

spekula-

tions—

og

accepteringstrang.

Samtidig

skal

vi

henlede

Deres

opmærksomhed

pâ,

at

1'

1.5.,

ensker

et

lade

glemslens

slor

over

den

af

Nash

ejede

gàrd

Draka—

bygget,

som

han

uden

bevægelséns

godkendelse

kalder

"Bauhaus

Situ—

ationniste",

denne

benœvnelse

er

direkte

modstrid

med

vore

teser

og

disse

nnsker

vi

1kke

udeat

forfalskning,

der

ikke

under

no—

gen

form

kan

eksistere

situationnistisk

kunst

—

ville

det

vist

være

temmelig

latterligt

om

1'

I.S.,

sà

oprettede

et

situationnistisk

ska—

demi.

*

Ievrigt

er

vor

bevægelse

udelukkende

baseret

kollektivi—

tetsprincippet,

men

ogsà

pâ

dette

punkt

har

Nash

direkte

modarbejdet

vore

teorier,

ved

gentagne

gange

interview's

og

lignende

have

ud—

talt

sig

som

værende

Leder

al

l'

Ï.s.—

ledersystemet

eksisterer

335g

l'

I.S.

Vi

henleder

endvidere

Deres

opmærksomhed

pâ,

at

det,

af

Nash

nær

fremtid

udsendte

tidsskrift

DRAKABYGUEÎ,om

hvilket

det

for—

hàndsmeddelelsen

bar

heddet,

et

være

udgivet

af

l'

1.5.,

absolut

intet

har

med

l'

Internationale

situationniste

at

gare.

For

retfærdighedens

skyld

beder

vi

Dem

venligst

bringe

ved—

lagte

proklamations

fulde

ordlyd

Deres

og

om

nadvendigt

da

pâ

vert

ansvar.

Skulle

êeä

være

'æmligt

for

Dem

3€

hnnsyn

tîl

evI.,

pladsmangel,

beder

vi

Dem

venligst

bringe

en

notits

om

eksklusionen.

Säfremt

Deres

blad

er

interesseret

i,

engang

ved

lejlighed,

et

bringe

artikler

om

hvad

vor

bevægelse

autentisk

er

(v1

prætendèrer

ikke

blot

at

vœre

den

eneete

avaftgarde

der

findes,

men

er

det

ogsà),

beder

vi

Dem

venligst

rette

henvendelse

til

ovenstàende

adresse.

Med

de

venligst

hi

ener,

:;;.

'

I.

VEjMa

i

l

PS.

beder

redaktionerne

for

aviser

0g

tidsskrifter

i

Norge

0g

Fin—

iand

bringe

en

efterlysning

tilknytning

til

eksklusionsmeddelelsen.

Jet

drejer

sig

om

en

hîrîkog

en

Iinsk

avantgarâe-kunstnergruppe

der

har

szgt

optagelse

l'

I.S.—

Jergen

Nash

ikke

agter

et

udlevere

adresserne

pä

disse

grupper

bede;

vi

venligst

Dem

være

behjælpeli—

go,

sâledes

ut

disse

grupper

gennem

Deres

blad

kan

et

vide,

hvor—

til

en

ny

optagelsesbegæring

kan

sendes.

Adressen

er:

l'

Internationale

situationniste,

skahdinaviske

sektion,

Strommen

22,

Êgﬂüersl

Danmark.

PROCLAMATION

FROM

I’

INTERNATIONALE

SITUATIONNISTEI

On

Il.

l5"!

pv'oclomnion

mlml

l'Inl-malioncl-

silunl’onnltle

un

pablhhod

ln

indu!

by

A1119”

Eldo

and

lagon

Rash,

lama

mombon

ol

lhl

Conseil

Cnnlnl.

lr

lundi.

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mollet

cl

l

I.S._

lhm

conspltglgn

Inv-

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lb.

n

bled

ce

lupporl

n'ai-bu

d'échelon

il».

0h.

nid

cl

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monny

ropcllod

ludlon

whll‘h

w“

deudod

lm

lln

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soclion

al

lb.

Puis

coan

cl

Il).

Canal]

Conlul

on

lhc

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7h.

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me

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aller

sechs

Nummern

der

Künsîler-

a

zeilsdariﬂ‘

S

PUR

zu

besdrlagnahmen.

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ersten

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seit

1945

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.

der

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durchgeführt.

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plumpe

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die

S

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werden.

Diese

zynische

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will

uns

mit

Publikotionsverbot,

ProzeB

und

Gefängnis

drohen.

Agenten

veralîerter

religiôser

lnsfituîionen

oder

der

herrschenden

Klasse

müssen

uns

denunziert

haben.

Wir

rufen

alla

Künsîler

und

lntellektuellen,

sowie

alle,

die

für

ihre

Selbsfverwirklichung

durch

eine

mensch-

lid‘le

Handlungsfreiheit

kämpfen,

zur

Solidarität

ouf.

Zusammen

sind

wirfähig,

die

heutige

Zwangsbevor-

mundung

der

menschlid'len

Ausdrud<sfreiheit

von-

seiten

nid1tkompetenîer

Institutionen

wie

Bürokruﬁe,

Polizei,

Kirche

und

Justh

zu

zerbrechen.

Vernntwunlkh:

Sîurm,

Fischer,

Zimmer,

Kunzelmonn,

Prem

Solldnñsdl:

Lousen,

Koîanyi,

Debord,

Jorn,

Nosh,

Martin,

Lorsson,

J.

de

Jong,

Voneigem,

Lindquisî,

EIde,Trocchi,

Strorcm,

Ovcdiu,

Bernsrein,

Eisch,

Stodler,Sîrock,Lober,Senﬁî-Hohburg,Engelhord,Hesîerbergﬁeichert,

Grieshaber,

Rainer,

Feuerstem,

Dôhl,

Pzillos,

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Plotsdxek,

Dohmen.

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A

L'Allemagne

d'après-guerre

pourra

se

vanter

d'avoir

connu

deux

grands

moments

Judiciaires

:

les

Procès

de

Nuremberg,

inten—

tés

par

un

monde

en

mal

de

liberté

contre

certains

dirigeants

nazis

exagerément

compromis,

et

l'inculpation

des

membres

du

groupe

Snuz

décidée

par

la

justice

allemande

théoriquement

purgée

du

nazisme.

En

fait,

les

procès

de

Nuremberg

n'avaient

porté

condamnation

que

des

excès

du

fascisme

et

des

anus

de

la

guerre,

excès

et

abus

pesés

à

la

balance

d'un

christianisme

qui

n’avait

songé

à

les

dé—

noncer

qu'à

l’heure

ultime

où

il

pouvait

craindre

d'en

être

souil-

lé.

on

sait

de

reste

que

le

fascisme

ne

constitue

pas

en

lui-même

une

gene

pour

l'Eglise;

qu'elle

s'en

accommode

fort

bien,

quand

elle

n’en

est

pas

l’inspiratrice

:

Espagne,

Portugal

gémissent

à

deux

pas

d'ici.

Il

est

clair

que

la

liberté

de

pensée

et

la

liberté

d'expres-

sion

que

le

fascisme

étouffe

-

sont

également

Jugées

nocives

par

l’Eglise,

laquelle

ne

craint

pas

de

traîner

dans

la

boue

et

devant

les

tribunaux

l'athéisme

et

ceux

qui

le

professent,

après

les

avoir

traînés,

il

y

a

peu,

sur

la

Place

de

Grêve

et

sur

l’écha-

faud,

tout

en

exigeant

qu'on

la

respecte

dans

toutes

ses

supersti—

tions

et

dans

toutes

les

imbécillités

notoires

dont

elle

est

por-

teuse.

Ces

constatations

élémentaires

ont

été

faites

depuis

fort

longtemps

par

des

hommes

qui

ont

conquis

en

dépit

des

Eglises

quelque

réputation

et

qui

ont

pu

s'appeler,

par

exemple,

Diderot.

»Le

mérite

du

procès

saur

est

de

nous

faire

souvenir

que

toutes

les

conditions

de

la

tyrannie

subsistent

aussi

longtemps

que

l'Etat

est

laissé

maître

de

légiférer

en

matière

d'opinion,

aussi

longtemps

qu'il

fonde

son

autorité

sur

une

"vérité

révélée",

aussi

longtemps

qu'il

s'arroge

le

droit

de

soumettre

toute

activité

humaine

et

spécialment

dans

l'art

et

dans

la

littérature

—

aux

seuls

critères

que

lui

fournit

cette

"vérité".

Il

va

sans

dire

que

nous

ne

négligeons

nullement,

pour

apprécier

les_motis

de

l'action

coercitive

dirigée

contre

snun,

l'assimilation

des

va-

leurs

morales

représentées

par

les

églises

chrétiennes

aux

valeurs

économiques

et

sociales

que

l'Etat

allemand

entend

protéger.

Mais

ce

serait,

à

mon

sans;

avis,

réduire

sensiblement

la

portée

de

Pévénement

que

de

le

ramener

des

considérations

trop

actuelles.

Comme

on

Il!

le

verra

par

le

résumé

que

nous

offrons

ci-dessous

de

l'acte

d'inculpation

(l),

l'intéret

prodigieux

de

ce

procès,

et

par

quoi

il

touche

l’ensemble

des

artistes

libres

et

des

hommes

libres

dans

le

monde

entier,

est

de

nous

rappeler

les

plus

(l)

Ce

document

est

reproduit

intégralement

ici

dans

sa

version

originelle

allemande.

Le

Dossier

n°

18-19

du

Collège

de

Pataph

sique

(Librairie

Le

Minotaure,

2

rue

des

Beaux—Arts,

Paris,

6°

en

donne

la

traduction

complète

en

français.

l

_L

_k1

sinistres

opérations

de

l’Inquisition

moyen—âgeuse

et

les

plus

stupides

mesures

des

gouvernements

(il

y

en

eut

en

France

et

ailleurs)

fondés

sur

l’Ordre

Moral.

Féodalité,

Monarchie

abso—

lue,

Empire,

Restauration,

Sainte-Alliance

ont

pu

être

submer-

gés;

la

démocratie

bourgeoise

qui

avait

manié

durant

sa

pé-

riode

ascendante

l'arme

de

la

tolérance

et,

par

consé

uent,

de

l’anticléricalisme

-

récupère

aujourd’hui

dans

la

miserable

panoplie

moisie

des

inquisiteurs

les

garrots,

la

caroche

et

la

corde

frontale.

Car

le

but

de

ce

procès

d'intimidation

apparaît

en

pleine

lumière

:

i1

s’agit

d'interdire

toute

pensée

neuve,

d’empêcher

toute

étude

sérieuse

et

celle

du

jeu

n'est

pas

la

moindre

des

conditions

dans

lesquelles

l’homme

peut

conquérir

de

nouveaux

d'expansion.

Char

1;:

Il

est

significatif

qu'une

instance

ait

été

engagée

par

la

justice

allemande

contre

les

rares

artistes

allemands,

nés

sous

le

nazisme,

qui

se

soient

montrés

dignes

de

l'art

et

de

la

pensée

allemand:

dans

sa

tradition

vivace.

On

comprend

que

nous

ne

plaidons

pas

ici

au

nom

et

en

faveur

de

quelque

"patriotisme"

que

ce

soit.

Mais

nul,

pensons-nous,

ne

contestera

que

lorsqu'un

peuple

parvenu

à

un

niveau

culturel

très

élevé

se

trouve

anesthé—

sié

pendant

plus

de

vingt

ans

c’est

pour

l’Europe

une

grande

pri—

vation

et

que

c'est

une

heure

faste

quand

on

voit

renaitre

chez

ce

peuple

des

énergies

qui

lui

sont

propres,

des

productions

dues

à

son

particulier

pouvoir

créateur

et

qui

par—là

même

s'ajoutent

aux

nôtres

et

les

renforcent,

au

lieu

d'être

comme

c'est

encore

le

cas

dans

les

plus

larges

secteurs

de

l'art

alle—

mand

de

simples

produits

d'importation

témoignant,

au

mieux,

d'un

heureux

écoulement

de

nos

surplus.

Alors,

et

dans

cette

optioue,

le

proces

contre

les

spu—

ristes

signifie—t-il

que

l’ALlemagne

démocrate—chretienne

cherche

désormais

et

ouvertement

son

point

d’appui

dans

l’obscurantisme

franquiste

et

le

néant

salazarien

Entend—ellc

reprendre

à

sw;

compte

la

lutte

d’Hitler

contre

l’

"art

dégénéré"

?

On

peut

lé-

gitimement

se

poser

ces

questions

devant

les

griefs

insensés

contenus

dans

l’acte

d’accusation.

Quant

à

la

réponse,

les

ﬂuge-

de

Hunich

ont

été

chargés

de

nous

la

donner.

Dîeter

Kunzelmann,

Helmut

Sturm,

Heimrad

Prem

et

Hans-

Peter

Zimmer

sont

traduîis

d‘vant

le

Fribunal

de

l

ère

Instance

de

Munich,

et

Rrwe

Lausen

devant

le

Tribunal

pour

Enfants

de

la

même

ville,

sous

l’inculpation

d’avoir

mis

en

VVÛÈE,

VPnuç

»L

distribué

des

écrits

licencieux

(il

s'agit

exclusivement

de

la

revue

artistique

Sang)

et

d'avc

r

nuolicuement

blas_.émﬁ

Dieu

et

injurié

l’une

des

églises

Chritlennes,

ses

institutions

et

ses

dogmes.

Le

Einistêre

Public

observe

d’aboru

que

les

numéros

l

et

de

la

revue

Saur

dénotrnt

des

tendances

nihilistes

et

anar—

chistes,

sans

cu'on

puisse

cependant

les

mettre

en

cause

sur

le

plan

pénal.

Le

numéro

est

laissé

de

côté:

on

ne

sait

trop

pour»

quoi,

tant

il

eût

été

aisé,

sous

le

verre

grossissant

et

défor—

mant

d’un

argousîn

lubrioue,

de

faire

surgir

de

quelcu’unc

des

29

lithographies

oui

le

compose,

une

croupe

audacieuse

ou

l’ombre

d'un

visage

convulsionné

par

l’orgasme.

on

en

vient

penser

t;

4

v

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main".

un

lllI

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lml

la

wlhllng‘hoïn

n

mir.

1h.

m9!

al

"in

and

la‘

àwidrlhgdlwpbîn

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rhl

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fi

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lb:

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s

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hl”!

lb,

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u

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‘nuy

en

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urnh

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.

mm.

u

loch

nu.

gamin“

anwanmîa.

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in

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m.

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«au

n:

n

baud

ln

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P91

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gxèludœd

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ml

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bruni“!!!

char

w.

hum

roylc‘uila

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h

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ban

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ci

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lib:

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y

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al

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and

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r

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h

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on

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dancwc’y

lnnumclv

a,

li

or

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publllhcd

la

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all

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mmth

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il

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me

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ru.

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ll

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lot

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rob.

la.

odbu

h

oin

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ln

lb:

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mlutlon.

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:l'nllgonrlm

tu

au

dqty.

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la

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llh.

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glu.

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ou.

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nllowcd

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la“

lndlvlûacl

l'iné-

o‘

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par...

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panna!

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look

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galon

MW

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uxl'

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mulot

m.

ibllq

per

hui

v

unly

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w.

familial

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cv‘olÿlînn

.ondlhcl

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in

Paul!

wîll

hi

lcllwcd‘hy

unëau

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licnlû

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me

"tu

group»

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ml-

‘n'nq

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tu

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cl

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al

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hwry

inventant

vhm

mine

dIK-rmuu

énä

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lin!

b-

nppmu‘d.

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lb.

courant.

lit-u

chùnçluih

liçdmumq

hw.

vloral

par

la

ploy

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1h.

dcwlopm

al

n

üwuui:

lerly.

cml‘y

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magma:

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un.

mnd

a.

nu

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lmmlianal

du)”

0h.

la!

mm.

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1h

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ﬁnirai

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th

.ux

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preumhœhm‘vcodl'r.

municide

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wmch

pstde

xplinl-r

«maximal-mur.

lb.

plans-ça»-

na!

bu

mldrmd

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ni

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crll

'n,

m

l'un

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donna

lh.

wlu

ml:

have

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aploauvlw

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in

miel

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ll’cul'

î»

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"hall!

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ahuwﬂon

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on:

eau-al

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u

gäüllonm

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ai

puûllcn'und

MM.

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ll

m.

mon

o

punly

chacun

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lut

MM»;

il):

m'insmi.

hllîly

lama!

pmiilonend

romani

«né-mu

lelv'l

nlmiÿî:

MM

La

in

luthr'mcnl

Glu-ardu».

imman-

o?

malmlneﬂu‘ndad

d’un

Inourprmnv‘

wm‘wn.

ny.

tu!

gamm-

'!hd

"le

Scçndlncÿlen

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ingénieur

cl.

boni

mlly

roll.

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lMullig-nl

and

«un

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glu"

vlan

flnd'rh'm

"un

lx

u

lunünqnnhl

rame..."

olr

mwiim

un.

Il

«Fard

au

prciv-

dlansh‘allna

Ihnlu

Maman

nul

by

Guy

Bt_bud

ﬁon

495d:

point

cl

vint.

la

puñnly

mm:

ni

l‘amon-

Ïhg

un.

eppllu

lu

Ibh

.‘œlymu

manioc.

1h.

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“look

la

couplu'lymm,

Il

lnbmdm

and

nublllly.

Once

wnmdqnundlhhélﬂermo

lläl‘pll!

bgmm

llu

“9M

imam!

and

letwc.

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iang

aoru

le

dm:

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àrh‘

in

lu!

Ph.“

In

eppedm

rndäwla

mark

«n'er

nlvnllen.

Any

mw‘h‘

un.

tbn'huh

live

lhnpmt

mm

will

la."

hlmlon‘md.

Yvnhr

9mm”.

Ylhnfanlho

qnﬂon

u

2M

Sllwllunli

lMun'ulqml

lulu

a

Mu

ni

préj-

u—

et

«grain.

in

thym!

nœhd'in

uwlenli

ﬂdmm

væhîzlrm

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a",

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v

culm"

l

W.

mm

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Il"!

clou!

ol

Porixion

ploblomn

05

million

m

Inmv

umil

luth

rima:

lhnepfoblenu

huvu

baen

clmiîlcd

lo

lhe

poinl

whare

lhey

bacon.

cmnnable

vo

iyxlemlic

and

rmlonul

dl!-

cuuien.

Pmirional

nilwlionism

nom

oui

by

mokîng

proiecu.

Tth

in

nlypicollylalinponern,

wlluecIScondinm/inn

Social

Dommcy

iscollad

relormulivn

bncause

in

plan;

crin

ou!

oî

ll‘c

lilwlion

imlî.

Thi:

mellwd

Menu

In

be

qui“!

olian

la

lheFlenchwuy

ollhlnking

a!

ilu-pcnenl

lime

and

Ihny

vlwrelorn

regard

il

m

#nbu.

"une

dlllerences

ouiomiïcnlly

preclude

ony

Faim

cl

Clou!

Franco-deic

cevoperolion.

In

lhîl

argu—

mon!

ncillwr

ride

con

cluim

ID

bave

monopon

o‘

lhe

rlghl

Idem.

Green—Roman

thînking

i:

mou-d

in

polillcal

(mil

social

ll'leory.

Il

il

appoxed

le

ou!

own

woy

0l

ihlnkinghnwm

wobplirwq

"th

mon

mu

lumen

boit-19

and

individuel

alandn

u!

Il“:

canne

ol

oll

wonhwhîle

acrwivy.

Surna's

Mllo‘luliciarn

km

becn

culled

humonlsric‘

bu!

In

lncl

hîx

lwmon

aning

i:

a

wch-crnlric

crcolure.

The

Flancqjelglnﬂ

ailuclionlil:

bain

rhumsolvm

on

0l».-

uxms

princlplex

a!

Pascal

Dessertes.

Glace

and

GEL-le.

Acvlon

prucodol

errorion.

You

only

bngîn

:o

leel

religioua

aller

you

mu!-

Ieud

your

pruyeu.

Accoﬂling

la

Scoudinuvion

xiluulionisl

phllowphy,

uclion

la

lhc

lmll

al

:mulicn

and

urisu

ou!

o‘l

cmminn.

Fmolion

îr

uprimory,

non-relleclive

intelligence:

passionne

llloughli'iñinking

passion.

“Ne

me

no!

snyingtbur

me

Froncb

merbed

i5

wronç)

or

"la!

ix

canna!

“no

uurd

luccesslully.

We

meraly

my

Ihm

au!

rwo

oulloaksole

incorrpnilblc,

bal

lhey

con

brrnnde

Io

wpplomcnl’

me

amrher.

Lmlly,

lhir

Scandi—

navian

polillclnn.

who

CMŒQ

ro

ignare

liww

Fun-

domonlal

dillunncn

wiil

no

al

rbulr

own

pu

ril.

î‘nzy

wm

gel

un

unplmmm

surprise

nl

me

Nordlc

mlional

rencviail.

Thc

2nd

Siluuvî‘onin

lnlemavroncl

i)

irvcly

or.

gunllod

movmnnnl.

Il

in

volumarynsmcimionof

autonomm

Wk

gmups,

whoxc

progiummo

m

ugrood

al

Slockholm

is

brlclly

us

follews:

FREEDOM

FOR

SCIENCE

[AND

INTELLECÏUAL

LlFE.

Scientific

lmowlodgz-

thall

be

pack-d.

erc

ochievemenlx

cl

sciencn

belong

la

mciely

us

whole.

world

organlunion

mu)!

lue

se)

up

le

emth

leo!

scicn'îilc

discovevinx

me

mode

lo

benelil

nll

munkîna.

Sciunlilic

inv‘emion:

hall

nal

basequesrercc‘

by

lncivlduo!

57mn

or

depcn.

menu

cf

ünlr.

Science

nholl

mi

b:

usen'

m

on

inllmmen!

lcplnuicn

or

levier.

Tlm

nuw

wcrldorgunimlîcnwlll

'cumbleUneico,

bu!

withaul

boing

dariainavod

by

ony

ningle

poll—

licol

power

group

or

alliancr.

Il

sbcll

be

baud

on

Plugua.

Bul

Czeclmslovukiu

mua!

(in!

b:

relecsed

lrom

il:

wlellîle

mmchmenv

le

Ihe

Sovicl

Unlun.

This

i:

paieclly

lwsible

dc-

mond.

ll

Î!

inevilnble

rbct

Kienlilic

knowlegde

and

Iochnologicol

:kill

shouldbe

unnenlydislribulec

vhoughoul

rhe

worlrl.

li

l;

vherelora

inpossible

Io

mlulise

science

on

u

global

seule.

8m

vhe

och'

vmnn

oî

science

con

and

sholl

br:

mode

cvnilolale

la

oll.

An

mon

ho

for

m.

benufif

cl

mankindr

and

cullure

con

onl‘y

luncliun

prople

when

lhey

are

l'en

from

polilîcul

imminente,

H

i:

nez:ch

mty

vo

mabliih

Dulanomoux

cen‘lres

al

cullurul

aclivily

undcollegaîcr

Il»

peuple.

Such

initi-

luliom

will

:ome

undcrihe

proleclimcl

lhe

new

Unuçn

in

PIQUE

The

labour

mas/amen!

nm

onca

cemidaed

1o

be

lha

wlr

al

vh.

mnh.

ïo-doy

il

l:

rime

lilw

n

milch

cow,

whose

uddcnmo

beingpurmed

inan

ellovl

le

gel

mon

and

me

malarial

bcnelîh

al

Ihn

«peine

ol

lho

All

me

lame.

ow

mamlol

Ilundold:

have

no!

rimn

iuch

grec!

holglnu

wlum

"en

evcrall.

W:

have

ll’w

spec-

lacla

ol

o

mciely

which,

on

'hz

on:

bond,

in

consumer-minde

bu!

on

llw

othu

hqnd

con—

lrollad

by

slnpknpnrs

o.‘

every

kind.

llæy

me

in

chgc

al

bullneu,

politiu

and

culluml

ul-

inin.

ThaSnueüonin

movemcnl

womueuchievc

Frudam

ol

m.

mina.

We

Ihallwork

luwcrdnhe

accorrçrlia‘vvnenlor'

lnn

MUlANï

programme

for

inter—planrlmy

econo-

mîc

expansion:

lho

nbolirionol

mililury

neiigm'

lhedeshvclion

oinll

muni:

wecpnm.

llmnkinä

i5

nevalheleu

doomed,

w.-

pevimllsur

we

shoalrl

all

perish

Iogcibcr.

W:

ure

appauvri

îo

Ony

plan

whicl’v

levouu

il“!

aurvivnl

cf

xmnker

(JIÎHCP

crucv.

amwomsrâ.

.

W»

admit

lhal

Scunnînuvmm

me

mmlrplnnnera

nnu'

probabl‘y

nva-n

leablu

m

rcmryinq

ou!

nvhnr

pirople's

plans.

We

du

nov

ulwoys

Jimm

'

hnel

lwenn

lhr-ory

and

prucl‘ice.

W:

lrnri

l0

proﬁl,“

cm

I'neorien

alla!

ll'w

"un.

rua:

wr

'lnvc

becomc

invnlved

in

lilunlloniu

(al‘rl'

on:

planning

lnwmd)

lonslblc

ernch

wcrk

exocny

lhe

Ollîl‘!

way

rormn.

mm;

won!

evcrylhing

:nnighe

lwlore

ll‘le/

saur!

overylxscy

‘xus

vo

lineup

Lcnncely.

Min

tînm

h

i:

Full

in

or

grl

0m".

A;

lo‘r

ancre

nkcy

bc-

lievo

in

Frontal

cllccks<rcguzdlcnul

mu.

l‘îny‘

de

nol

Menin:

reoliielhm

byrraking

wenklmm

l

ml

nnucka

lhey

arc

ploying

inlo

lue

hondx

ai

I'ne

enemy

and

wmling

lhrir

owrr

srrenglhi

l!

pays

mu

le

provok:

suc'n

aussi.

Wr

do

nov

bclirwr-

in

mi,

slmfcgy.

Anol'nul

in’pollum

riiFlz—rcnce

il

ibis.

l"‘m

Scan—

dinnvîanr

anlvc'owrus

Ielbl'nwhere

v-

r

rrim

uwclulloﬂ.

Wn

build

on

lhr-

Pn'r'l

w:

lev

now

luron

giow

ou!

o'

pur!

r:

prlirntc.

Î‘”?!

canine

colin!

organic

pnn

c,

cm

au;

b:

culled

ulrnra—conwvulimz.

Ïo—o'oy

lonm

like

comermlâsm,

progreu,

rava-

lulion

and

roacllonism

have

become

mecnîng—

lcss,

Thc

leimîmlogy

ci

liberclîsm

il

r-quqlly

luluou!

and

ployed

cm.

Thnra

Es

na

pair!

in

Jsing

plumes

ol

lhia

kind

for

I'm-

Nornic

philo-

sophyaf

xiluoiiomwhich

isesse.

iullvlradilien.

u'ilcclnd.

Hﬂein

lies

ou!

mnngth.

Cm

mis

’ch

base

au!

ideology

and

ou!

workin'i

pri

If

rho

rrcnch

xilnmrionsxsu

cannol

accepr

o‘n

viow,

lhcy

WII

n’alta

lhelr

own

plans

und

95

checd

lndepenôanvly.

There

ure

nome

peuple

wiro

will

lell

la

mrup

Inc

significonce

cf

lh:

Silw'îcnri-A

muggln.

Tue

heccl-on

collision

lnwl’lîch

wc

orernvoiwuwill

:lrike

lllem

m

inuxpllmble.

Bu!

wc

me

Luth/in»

ced

on:

àay

lhix

pmm

wili

uL-

SUÇÏMG‘.

un

even!

cl

primnry

imponunce

la:

Eumpot

me

mornanl

baloma

dccisive

breukflvough.

'lo

vhose

wha

Phink

lhol

verbal

boule

r“;

na!

wunh

figlulng,

ws

wnuld

like

la

wy

thix

word

w‘nr

ix

bencr

lhcn

world

wurr

Signal:-

Jélgcn

chh

l

Denrnallt

il

Jergrn

(Dmmrk);

Gordon

Fowkulcy

lGrecl

Brimin):

Hardy

Sln'd;

Slulîan

Lorswn

(Swedenl:

Amgur

Elido

(Swedenl‘

Jocquclinn

de

long

(Holluña'l'

Parrick

O'Srien

(Eireir.

(Memben

al

il")

Sloc'x-

hc‘lm

Ccnletence

in

r‘wqun

l962‘r

5

4

.

4

n

v

ËDANGER‘

L

E

P

R

S

0

N

I

E

R

la

11

y

à

l'onl

dans

11

nL

11

ure

no

exalples

o!

Lhe

influence

whlch

m:

can

consider

.‘o

LE

mal”:

pubilcaLIz-n

of

the

mmnt-mnil’esl

1h

me

:‘1

manne?

g.

m»

.mnim

Times

whlch

cam

out

in

lay

2,01;

1m:

m:

"en

ber.)

a

X'F‘Bcîlc,“

of

me

Expresx

îetrv

cf

Engam:

tzxki:

in

ou:

pro“

'amJatex‘

Ims

J‘ollowed

t2

,I'Ah,

une

:.tn

1h

me

IL:

pr

mur.

"Oct-[110d

by

the

huracrut.

l.'r.ll‘l(l.&î.

——

I:

Il.“

m:

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course

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E

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dans

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lle

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OF

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supposedl

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worla'

cleplores

the

continued

freedom

oF

existence

of

the

cannibals

of

New

Guineo.

Îhe

over-developed

and

under—

developed

peoples

of

the

world

are

aquolly

anxious

concerned

about

the

problem

of

increasing

overpopulation

in

the

Nether—

lands.

We

propose

a

solution:

the

esta—

blishment

in

Holland

of

a

suffi—

ciently

large

contingent

al

can—

nibal

master—cookswho

con

play

on

effective

part,

bath

taurants

and

in

the

home,

in

re-

ducing

the

surplus

popu—

lation

to

manageable

proporti-

in

res-

OÛS

We

wisli

ta

point

out

that

rne

re-

cent

ban

issued

by

the

DUlClî

government

on

tlie

sale

and

con—

sumtîon

of

lresli

lierrings

(graene

haring)

makes

this

proposed

re-

course

to

anthropophagous

proc-

tises

a

proiect

ol

the

greutest

ulgency.

EN

wmïr

1|:

sur;

r

vals

‘PILUN

2075185“

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JENI

mng'

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Il-

«un.

ADRESSE

A

MONSIEUR

L'O.N.U.

Le

monde

prétendument

dévelop—

déplore

la

survivance

en

lî—

berté

des

cannibales

cle

la

Nou—

velle—Guinée.

Les

peuples

développés

et

les

peuples

sous-développes

s‘in—

quiètent

de

la

surpopulation

dont

souffrent

les

Pays—Bas.

Naus

proposons

une

solution:

l'installation

en

Hollande

d'un

nombre

de

maîtres-

queux

cannibales

qui

contribue—

suffisant

vont,

tant

dans

les

restaurants

que

dans

les

familles,

a

la

ré—

sorption

a'e

l‘excédent

de

papu—

Iation

hollandaise.

ooservera

que

la

récente

in-

terdiction

prononcée

par

le

gou-

vernement

hollandais

contre

les

harengs

lraislgroene

haringl

rend

indispensable

le

recours

aux

pra—

tiques

anthropophagiques

AN

DER

Die

sogenannte

entwickelte

Welt

bedauert,

dass

Mensrhenfresser

auF

freiem

Fus—

în

Neuguinea

se

noch

leben

Den

entwickelten

uncl

unterent—

wickelten

V'ôlkern

bereitet

die

Uberbevôlkerung

în

den

Nieder—

landen

grosse

Sorge.

Wir

schlagen

eine

L'ésung

var:

die

Niederlassung

in

den

Nie-

derlanden

einer

genUgenden

An—

zahl

kannibalischer

Meister—

k'aclie,

die

danr

sorgenwerden,

in

Speiselokalen

wie

innerhalb

der

Eamilîen,

dass

die

Uberzahl

der

holl‘dndischen

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werde.

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darauf

auïmerksam

9e-

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dagneulich

van

der

niederl'ondischen

Regierung

er—

lassene

Verbot

gegen

den

Ver—

zehr

frischer

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l’intenti>n

de

l’archevêque

de

Iunieh

et

de

son

tribunal,

il

serait

aisé

de

reproduire

ici

les

"calomnies"

et

"diffamations",

les

"blasphèmes"

et

les

"obscénités"

dont

usèrent

les

polémistes

grotestants,

les

théologiens

protestants

(Luther

tout

le

premier)

l’endroit

d’une

des

"deux

grandes

églises

chrétiennes",

de

ses

euppôts

et

de

ses

dogmes.

Les

imprécations

des

Réformée

contre

les

1

nonnes

et

les

moines

corrom

us,

les

prêtres

ignares

et

débauchés,

les

prélats

simoniaques

ram

neraient

au

rang

de

la

controverse

cour-

toise

les

injures

des

spuristes.

Le

Jeu

est

tentant,

il

serait

sans

portée.

Pire

encore,

il

ris

uerait

d’accorder

le

beau

rôle

au

pro-

testantisme,

alors

que

la

orme

n’a

eu

de

cesse

qu’elle

n’ait

"assaini"

la

religion

chrétienne

comme

on

nettoie

les

chiottes

au

crésyl

x

ce

n’en

sont

pas

moins

des

chiottes.

La

putréfaction

avan—

cée

de

l’Eglise

romains

présentait

même

quel

es

avantages

on

peut

tout

attendre,

tout

espérer

de

la

décomposit

on

d’une

charogne

qu’elle

nous

instruise

sur

les

moeurs

de

certaines

larves

d’apparence

humaine

ou

qu’enfin

elle

tourne

en

eau

et

disparaisse.

Il

n’est

pas

absurde

de

penser

que,

sans

la

régénération

protestante

et

la

remise

en

ordre

de

l’Eglise

romaine

qui

s’en

est

suivi,

le

christianisme

aurait

subi

ce

sort

des

plus

naturels.

Georges

Palante

dénouait

déjà

les

faveurs

dont

certains

esprits

qui

se

croient

libres

ou

habiles

entourent

les

hérésies

:

Wsm

J’hénéaig

tend

e]]:_mgmg

à

sa

aggjaliagzl

d‘anguille:

sa

najnnane

92:-

uslls_causs_ds_naisunissamsnt.

Un

Etat

qui

batit

son

code

pénal

sous

l’influence

conjointe

de

Luther

et

du

vatican

ne

fait

qu’additionner

les

interdits,

la

Justice

muni-

choise

en

offre

un

excellent

exemple.

Quant

aux

pays

où

le

protestan-

tisme

s’est

assuré

la

suprématie,

on

s’illusionnerait

fort

en

croyant

que

la

liberté

artistique

y

est

mieux

traitée

que

dans

les

zones

d’obédience

catholique.

si

le

nu

naturiste

s’y

affiche

volontiers,

si

les

livres

d’éducation

sexuelle

s’y

distribuent

à

l’âge

des

abécé-

daires,

c’est

pour

prévenir

les

perversions,

les

déviations,

les

vices,

autrement

dit

pour

pasteurieer

les

rêves,

stériliser

l’imagination,

éviter

ses

écarts,

ses

éclats

sans

lesquels

il

n’y

a

ni

art

ni

liberté

artistique,

et

de

liberté

point.

Loin

de

faire

contre-poids

aux

dogmes

catholiques,

1e

protestantisme

les

ciments

de

son

puritanisme.

Que

la

Suède

admette

l’avortement

médical,

qualifié

de

crime

par

le

Vatican

(on

attend

que

Madame

Finkbine

intdnte

au

Saint-Siège

un

procès

en

diffamation)

ne

lui

fait

pas

comprendre

autrement

que

la

catholique

Bavière

l’art

et

sa

dynamique

trans

essive.

Que

son

roi

ou

celui

d’à

côté

se

promène

à

bicyclette

c’est

ainsi

du

moins

que

le

voient

les

démocrates

étrangers

et

ce

dont

ils

s’émerveillent)

ne

vaut,

à

nos

yeux,

us

pour

être

le

symbole

d’un

manque

absolu

d’au-

dace,

le

signe

caract

riel

d’un

gâtisme

congénital

proposé

comme

"mode

de

vie"

à

tout

un

peuple.

Le

temps

n’est

plus

où

1a

pensée

libre

POUVâït

opposer

l’une

à

l’autre

les

églises

chrétiennes,

entretenir

leurs

dissens

ions

et

en

tirer

profit.

L’unité

des

Eglises

s’est

re—

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l’"oecuménisme"

est

réalisé

dans

le

code

énal

de

la

Re-

gubäîgue

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allemande

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munich

nous

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îor

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diverses

confes-

â

ons,

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loi

applicable

chaque

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MEDITATIONS

THE

FUTURE

OF

ART

by

Mon

Ehrenzweig.

Abstract

art

has

becorne

a

greot

commercial

success,

a

situation

that

wos

quite

unthinkable

only

ten

years

ago.

lt

may

be

equaliy

unthinkable

today

that

the

very

success

of

abstract

art

may

have

sealed

its

doorn

and

that

ten

years

hence

the

circle

af

artistic

fashian

may

turn

once

again

and

oust

abstract

art

by

a

new

reference

to

nature

whether

you

care

to

call

such

reierence

reaiism,

representationalism,

naturalism

and

whot

else.

Ta

my

mind

the

time

cannot

be

far

oii

that

abstrac-

tion

exhausts

its

power

os

an

exciting

new

art

forrn,

if

it

has

not

reoched

this

paint

olreody

now.

It

is

hard

ta

remember

that

abstraction

when

it

iirst

orrived

carne

as

a

truc

Iiberation

ai

artistic

sensibilities.

No

langer

wos

it

necessary

for

the

artist

ta

match

form,

tone

and

calour

with

obiects

in

outer

reality,

he

could

ireeiy

indulge

in

the

emational

interaction

between

abstract

values

of

colour,

tone

and

form.

lnexploring

this

interaction

the

obstract

artist

ielt

that

he

was

obeyinga

formol

discipline

more

praiound

and

stingent

than

the

mere

imitation

oi

nature.

But

perhaps

ali

tao

quickly

the

new

ernotional

experience

vos

stunted

by

familiarity

and

hemmed

in

by

superficial

conventions

that

restricted

his

newly

won

artistic

irecdom

more

severly

thon

the

realistic

convevtiom

of

old.

For

instance,

it

bas

become

bad

taste

to

mix

in

the

sarne

picture

extreme

styles

likes

constructivism

and

tachism:

or

once

the

pointer

hos

chasen

one

kind

of

texture

there

remains

aniy

a

limited

range

oi

other

textures

irom

which

he

con

choose.

Still

the

obstract

artist

con

throw

such

demamk

of

good

tasteto

the

winà

thoughhe

rnay

do

saat

his

peril

.

ihere

exists

another

more

insiduous

restriction

in

obstroct

art

which

isiar

more

difficult

to

resist.

ltwas

found

thot

the

obstractartist

did

nat

need

the

illusionist

tricks

of

the

old

realism

to

creote

the

illusion

of

a

three-dirnensional

space;

the

abstract

values

of

t'orrn,

tone

and

colour

coulcl

construct

their

own

obstract

space

which

was

equaily

precise

os

the

former

realistic

space

illusion.

sure

sign

of

decadence,

ocademicteaching

particularly

in

theUnited

States

evolved

a

systernatic

method

for

studying

the

space-rndlting

propenies

oi

abstraction,

and

this

course

is

often

part

of

on

academic

syllabus.

This

devellopment

undaes

one

of

the

greot

achievernents

of

madern

art,

the

achievement

to

manipulate

only

the

two-dimensional

painted

surface

without

bothering

about

an

illusianist

three-dirnensianal

space

exponding

beyond

the

convas.

The

bottle

af

moaern

art

ta

regain

the

flat

painted

surface

has

been

Iost

once

beiore.

‘ihe

Impressianist

revalution

begon

as

a

liberation

ai

the

single

brush

mark

that

borlre

up

ail

coherent

line

and

precise

space

illusion.

But

the

enioyment

af

the

brush

mark

on

the

fiat

surface

did

not

last

long.

Saon

the

art

critics

discovered

that

by

stepping

bock

irom

the

canvos

the

eye

could

fuse

once

again

the

single

bhuh

strokes

intoa

caherent

texture

that

gave

a

new

illusion

of

space,

this

time

the

atmoæheric

space

of

the

open-air.

The

decadence

of

impressionism

set

in

when

the

painters

thermalves

accepted

os

their

prime

task

the

creation

of

an

atmospheiic

space.

lt

was

left

ta

the

modem

action

painters

and

tachists

to

rediscaver

the

quality

ai

the

single

mark

on

the

fiat

canvos.

The

dissolution

af

precise

space

was

not

without

pain.

One

remembers

the

disploaoure

which

contempories

of

Jacksoni’ailock

iirst

felt

when

they

were

faced

with

Poiloclr's

transparent

curtaîns

al

interlacing

loaps.

Today

we

no

longer

bother

ta

de-

tach

these

loops

and

treat

them

as

so

much

decorative

textures,

but

this

was

not

so

at

the

first

inpact

af

new

Americon

painting.

But

the

academic

reaction

whlch

l

have

aiready

described

was

not

langin

corning.

When

the

critics

discoveted

the

precise

space-making

properties

of

abstract

art,

the

artists

thernselves

soon

occepted

it

as

their

duty

to

construct

abstract

puce.

To

resist

the

demand

for

precise

space

is

dîificult.

This

is

borne

out

by

the

very

damaging

influence

which

American

gairrting

hod

an

British

art.

its

influence

reached

Britoin

rather

late

in

the

doy

when

the

acadernic

decadenee

had

olready

begun

in

America

itseli.

Sa

the

American

inﬂuence

was

overcome

and

swarrped

by

its

awn

ocadernic

backwash.

serious

and

honest

British

art

critic,

L.

Allowayinaw

curator

at

the

New

York

Guggenheim

Museum)

took

it

upon

itselF

at

the

time

ta

interpret

American

painting

ta

his

British

foliowers

and

greatiy

recommended

its

space—rndsing

ochievements.

As

a

result

the

British

painters

largely

absorbed

American

style

influences

in

their

already

decandent

acodemic

form.

At

a

meeting

of

Alloway's

fallowers

at

the

London

lnstitute

af

Contenporary

Arts

l

was

imprudent

enough

ta

try

and

correct

their

Iop—sided

perpective

of

American

art.

l

told

thon:

ai

my

visits

to

United

States

art

schaols

and

of

their

systematic

teaching

of

vaca-

rnaking.

i

told

them

how

l

hnd

tried

to

trace

this

practice

to

its

source

and

wos

repeatedly

given

the

îliustriaus

nome

ai

Han:

Hafmann

for

its

imtliication.

lt

proved

the

proiundity

oi

the

misunderstanding

that

Hofmann's

own

ldeas

are

quite

different.

He

llkes

to

speak

ai

the

pointer's

first

duty

towards

argonîzîng

the

flot

suface

of

his

canvas.

If

the

surface

was

well

organized

it

wouid

at

a

much

Iater

stage

of

the

work

automatically

reverberate

into

a

resanating

space.

But

this

space

was

a

by-prodlct,

a

reward

far

good

work

donc

on

the

flot

surface.

(There

is

a

parollel

totnis

in

musical

composition

where

a

good

plastic

soundis

a

reward

for

good

work

done

an

the

inner

polyphonie

structure;

to

use

musical

iargon:

a

good

vertical

sound

is

a

secondary

phenornenan

and

a

byprodsct

oi

a

goad

horizontal

polyphonie

structure.)

Ta

aim

outright

ot

a

precise

spatial

illusion

is

ta

neglect

the

painter's

primary

dvty

towarde

the

fiat

painted

surface.

told

the

young

Btitish

painters

how

the

American

painters

thernselve

had

risen

in

revoit

ogoinst

their

own

brand

of

acodem-

icisrr.

When

the

Californîan

pointer,

Dibenltarn,

turned

away

forrn

pure

abstraction,

he

used

reolistic

allusions

to

break

the

precise

abstract

space;

he

would

plant

amidst

his

abstract

planes

same

femie

figure,

iike

a

spider

in

her

web,

wha

by

her

mde

all

toa

concrete

presence

wouid

throw

the

precise

aberact

pace

around

her

into

confusion.

The

“Hard—edge'

pointer!

mode

a

tuner

uee

of

abstract

spoce

convention.

ihey

purposiey

constructed

an

aubiguaus

pace

thot

could

be

"me"

in

ditierent

ways

In

daing

sa

they

still

poid

bornage

ta

iust

these

conventions.

Tl'n

ovtcome

of

my

intervention

at

the

artists'

meeting

wos

pathetic.l

Nos

immediotely

accused

ai

advocating

anarchy

and

Allaway

pronounced

that

without

Ipoce

construction

abstract

art

would

becorne

a

"mess".

But

why

not

a

"mon"?

An

artist

bas

to

risk

chaos

os

often

as

he

ventures

into

new

territory.

Abstract

art

has

becnmc

so

tome

prgcîz-cly

becouse

it

is

sa

tidy,

sa

precise,

sa

well

ardered

by

acodemic

convention.

li

there

is

any

virtuein

academic

t

is

its

obility

to

prevent

making

a

mess.

lndeed

what

we

may

need,

could

be

a

new

"mess"

.

Perhaps

it

is

Pour

'1'

we

are

sa

afraid

of

any

referenca

to

nature.

Nature

is

indeed

disorderly,

it

places

each

ather

iorms,

rextures

against

the

canons

of

good

obstract

taste.

When

abstraction

first

arrived

it

certainly

brought

a

new

:4“

"un

a

narraw

realistic

imitation.

Converser

could

it

not

be

that

a

renwed

contact

with

nature

way

now

help

us

ta

emonciyuie

ourselves

frorn

the

niceties

of

acadernlc

abstraction?

We

often

attack

an

oid

enemy

for

the

wrong

reasan.

The

old

reuiism

was

ielt

as

restrictive

becouse

it

forced

the

artia

ta

copy

existing

shapes

and

colours

much

in

the

way

in

which

a

photogrqshic

cornera

registers

the

proiections

ai

real

obiects.

ln

truth

the

artist

in

his

relation

to

nature

romains

entirely

Ms

awn

rnoster.

li

he

wishes

to

represent

real

obiects

he

is

free

to

invent

entirely

arbitrary

"equivalences'

oftheseobiects

that

have

not

relation

whatsoever

with

photographic

precisian.

lt

ls

the

great

achievement

of

Professor

E.

Gornbrich's

non

ciaxslcai

boak

Art

and

Illusion

ta

have

disposedonce

and

far

ail

ot

the

old

bogey

idoa

that

therealistic

artist

ai

ald

ruerer

copled

bis

awn

perceptions

of

nature.

Perception

is

euch

a

cornplex

process

that

almost

any

I‘equîvalence"

will

do

to

represent

roc?

e._-.-r.ts

on

a

fiat

oiece

of

oqter.

The

child

dons

nat

cheat

vrhen

he

treats

his

first

crude

scrawls

on

paper

as

true

alants

ai

daddy,

mumrny.

a

horse

or

a

home

or

indeed

any

abiect.

Ho

reaily

'sees"

thern

sa.

bomanch

came

tirst

t'ne

incredible

ilcxibiiity

ai

perception

and

the

arbitrariness

oi

the

artistic

equivolences

ot’

these

preceptions

in

an

s

ier

study

ai

the

caricature

which

ha

undertaok

with

the

psychoanaiyst-art

historien

E.

Kris.

It

îs

extremeiy

difficuit,

il

na‘

'rircssible,

to

underxtond

haw

and

why

a

good

caricature

succeeds.

The

caricaturist

abeys

na

teocbable

discipline,

he

a's‘

Is

tire

"correct“

autlines

ofa

face

or

bodyln

a

seemingiyarbitrary

way.

Yet

these

distortians

andmaiformatians,

partic-

.

crly

i‘

they

are

very

extrerne,

will

balance

each

ather

and

sa

produce

a

new

equlvalence

of

the

partrayed

thing

that

is

mure

nznsive

thon

a

conventiona!

drawing.

One

inonder:

why

the

art

ai

caricature

hos

remained

on

isolated

speciality

uncorwscted

with

the

main

streom

fa

art.

ihe

magic

ot'

transformation

inherent

in

a

good

caricature

shauld

yield

a

patent

Mec.

for

mare

ambitiaus

atterrpts

ot

representing

nature.

"Ennbrich

applied

the

imights

he

won

in

his

analysis

af

the

caricature

ta

a

better

understanding

of

Western

realîsm

in

geneml.

tic

rightly

recognized

that

the

magie

by

which

a

child

transforma

a

scrlbble

inta

a

satisiyîng

equivalence

af

his

parents

was

oi

the

same

kind

that

turned

the

malformations

of

a

caicature

into

a

crueliîkenessJ

myself

believe

that

the

cures

which

the

child,

the

caricaturist

and

the

artist

in

generai

creates

of

real

abiects

are

fundamentally

arbitrary

ot

the

mystery

af

human

crativnass,

but

Gombrlch

thinks

that

the

act

of

creating

a

lilreness

ar

equivalemce

must

nm

stages

a

phase

ai

arbitrory

“moking”

which

is

followed

by

a

mare

precise

'matching"

af

the

product

against

.

...

maigre.

The

child

gradually

refines

hls

first

crude

“schema'

of

the

human

face

by

adding

to

his

scrowi

further

‘..|owi!

rupresanting

eras,

halr

and

sa

on

thot

his

work

graduolly

approaches

a

botter

matched

likeness.

This

may

well

be

ra.

But

the

point

romains

that

the

iirst

free

invention

succeeds

accarding

ta

its

own

mysterious

laws

the

same

freedom

may

npply

to

later

refinementsand

modifications

that

can

claimthe

same

pantaniety

and

originallty.

Gambrich

hirnselfdiscussed

tize

'run

ni

Doumier

who

applied

the

freedom

of

the

caricatureto

his

serious

painting.

As

in

the

caricature

he

blindiygroped

icr

t

..-

l

wi

iveoutline,

superirrposingline

upon

Iine

urûil

the

miracle

ai

a

convincing

equivaience

was

achieved.

He

mode

attempt

at

obiectlve

matching.

lt

is

this

kind

of

free

realisrn

irom

whlch

a

future

new

realisrn

Inay

well

grow.

x,’

.

t.....I

cheats

usa

little

bychoosing

as

hismain

exarrpie

for

successful

innovation

ln

realîsrnthe

achievement

oi

Constable

wlio

brolu

a

:entury-old

schema

af

representing

depth

in

a

landsccpe.

tradition

going

bock

to

antiquity

distinguished

tire

fn'ground

by

a

warrn

galden-brawn

colour.

This

schema

was

a

free

oquivalence

because

no

attenpt

ot

nsatching

could

Mu

praved

that

colours

in

the

iorground

were

invariany

a

golden

brawn.

Constable

was

able

to

destroy

this

arbritrary

yet

:wv'mt

convention

by

matchlng

the'foreground

against

lts

'true'

colaurs,

far

instance

by

using

a

pure

greeninstead

ai

brown

îu

point

vegetation.

But

the

real

colour

revolutian

came

a

llttle

later

with

the

lnpressionists,

there

we

meet

with

the

true

artistlc

freedom,

without

matchîng,

that

is

ta

say,

wîth

a

free

arbitraryinventian

of

a

new

calour

scale

that

had

nopoœible

match

in

nature.

The

lnpressionists

forced

us

to

accept

their

distorted

colaurs

much

in

the

way

in

which

the

caricaturiet

rndms

us

accepts

his

malforrnatiom

os

a

convincing

likeness.

The

lrnprenionim

revelled

in

an

entirely

free

use

af

calour

penche:

as

rnuch

as

they

indulged

in

their

enioyment

of

the

single

brush

stroke

that

had

hardly

any

match

in

anlective

s

,.cs.

Later

the

lmpressionists

in

their

acadernic

decadense

fell

a

victim

to

their

men

illusionist

triurnph

and

tried

to

analyse

their

coloursaccording

to

the

lava

of

optics,

in

analogy

to

thebreaking

up

oiday

iight

in

the

spectmrn.

Fartunately

they

were

net

consistent

in

their

scientificpretensians.

ihe

Yorluhire

pointer,

Harry

Thubnon,

once

paintedto

the

inconsistent

use

of

colaur

in

sarne

of

Seurot's

and

Monet's

lest

wcceesful

plctures.

One

corner

of

a

painting

might

be

filled

by

an

imitation

af

pallid

atrnospher‘c

bine-

and

greens;

but

in

another

corner

the

artist

would

forget

all

matching

in

a

free

tumble

of

unrealable

colour

patches

and,

paodoxically,

ochleve

there

a

truer

image

ot

reolity.

.r.,;,v

38..“

110.8

«4%

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Seldjunerie

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Connu

Mi"

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All

week

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in.

HaIr-fine

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the

structure,

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open

lnto

Iagged

ineperdale

wounds.

girl

In

Wondsworth

had

woken

up

one

mornîng

with

her

hoir

turned

te

green;

bolf

a

column

of

local

news

in

tire

CLAPHAM

BUGLE

had

inexplicany

æpeared

in

ripper-case;

a

traffIc—beaeon

In

Oxforqutreet

liad

loﬂ

a

foot

in

belght

frorn

one

second

to

the

next.

Ploned

agaîmt

tlme,

the

outbreak

show-d

o

rising

curve;

plotted

ogoimt

puce,

a

phare

dentered

on

Ladoroke

Grave

with

îts

periphery

already

in

the

wburbs,

and

çreoding

fut.

Another

month,

and

we

were

ail

undone.

Surnmoning

up

tbe

attitude

of

a

Roman

Senotor,

l

rang

through

for

black

coffee

and

Norma

Streatfield.

The

coffee

nova

corne;

office

polltlcs

were

running

ogainst

me

that

week.

Normo

never

came,

eîther,

but

about

two

home

loter

a

rather

floshy

blonde

în

a

ginghom

frock

qapoared

at

my

desk

wlthout

warning

and

saId

breathlmly,

"Noana-con't-come-she's—stili-recoverIng—from-o—tbrash—at-Fulham-she—soid—would-I-do?"

gloorned.

"You'II

have

to

do.

Con

you

îrnlate

constants

In

a

flux?

Do

you

know

wbat

sang

tire

Sirem

sang?

Con

you

cost

Hosperîan

copies?"

"Corne

ogoin?“

“Never

mInd.

Here's

a

quid.

Go

do'wn

to

Westbourne

Park,

pick

tp

this

fellow

called

Maloney.

Spode,

but

born

of

the

Old

Country,

cross

my

heart.

Blockest

thlng

that

ever

came

out

of

Kerrynhere's

hîs

address.

He

Imam

the

d‘iII--

you're

ta

work

the

area

over

wIth

him

looking

for

Irveguloritîes.’I

'What

kind?"

'Anything

obviausly

“Huit

must

be

recent.

Fîve-legged

kittens,

outbreaks

of

impossible

diseuses,

antique

dealers

in

the

Portobello

Rood

giving

away

Sheraton

Iideboards-œnything

In

that

line.

Try

tire

odd

paragraphinthe

KENSINGTON

POST

and

the

KILBURN

TIMES--they

mîght

give

you

a

lead.

Maloney

knom

a

lot

of

tl'le

locals.

Incîdentolly,

keep

an

eye

on

him-wnobtrusive,

like.

I

get

along

fine

with

hlm

myself,

but

I'rn

not

pald

to

get

on

with

poople,

iust

to

make

sure

that

when

we

poy

‘em,

tbey

work

far

us,

not

for

Ihonh"

'Wl'lo's—-?"

'Never

you

mInd.

Thînk

yourself

lucky

you

don't

knw.

Wbat's

your

narne?‘

'Mary.

Mory

Banks.

How

do

Iget

pain?"

“In

englisl!

money.

When

you

delivor.

Sbove

off,

now--|

qu

tbe

bath

of

you

here

at

nine

tonight.

Rous."

She

raused.

Sornething

cool

was

nuzzling

into

my

hand;

the

yellow

phone.

I

rcpped

ît

over

the

earpiece.

“Idiot.

You're

supposed

to

be

a

phone,

not

a

cocker

spaniel.

Anyway,

what

Is

it?“

No

onswer.

l

sbook

it.

"Don't

sulk,

and

don't

waste

my

tlme.

Whot

IL

it?"

"You

don't

love

me,"

said

a

small,

tînny

voice.

took

a

deep

breath.

"Honey,

l

love

you

to

deatb.

Wby

else

slxauldl

turn

you

into

a

telephane

sa

l

can

have

you

on

my

desk

to

look

at

all

day

long?"

'Thcre's

two

ather

phones

on

the

desk.

Do

you

love

thon

toa?‘

'Tliey're

different.

Anywoy,

rweetheart,

hæpen

to

be

in

the

mlddle

of

a

crhIs

rlght

now.

Have

you

onythlng

te

tell

me,

or

net?”

“Yes.

Jonson

over

at

Griffith

House

Is

worried.

He

says

the

27

buses

have

been

runnlng

to

scliedrle

for

two

whole

days.‘

'They

baye:

Hurling

Yellow

down

on

tire

blottingaad,

where

she

Iay

squeddng

lndlgnantly,

l

matched

up

Redl

"Notting

Hill

GateuAlert

One.

AII

operatives

drop

what

you're

doing

and

concentrote

for

the

hoon

on

delayina

27

buses

pauîng

through

your

areu,

This

I:

urgent,

repent

urgent.

Report

bock

on

progreu

in

one

hour.

ml...“

XXXXXXXXXXXX

Raymond's

Cayf

stands—-being

supported

on

one

sîde

by

a

Vendor

of

Gents'

American

Sultlng

and

on

the

other

by

one

of

Londan's

Iost

remaining

genuine

flea-pit

cinernanusomewhere

along

tIie

lowef

reaches

of

the

Portobello

Road.

On

mekends,

the

detritus

of

the

Market

forms

a

sort

of

leu—ride

mark

o

few

yards

up

the

road.

lndud,

one

of

the

reasons

for

the

Cayf's

continued

existence

îs

probany

the

custom

of

those

wlio

sIt

there

through

the

long

Saturdoy

ofternoom

and

avenian

brooding

aver

tepid

cups

of

tea,

waiting

tiII

the

stalls

pack

up

and

9o.

At

that

time

thon

humon

voitures

Ially

forth,

confident

of

picking

up

the

odd

bit

of

kindling-waod,

the

totally

unusoble

canvasuwho

knovn?

aven

porhæs

sorne

indestructibly

anciem

chair

that

the

vendor

sinply

cannot

stand

tbe

sigle

of

ony

longer.

Patience.

Cunnlng.

With

tlrne,

aII

things

can

be

acqvired.

Meanwhile,

Raymond's

Cayf

endures,

o

sort

of

wperannuated

Robbers'

Cave.

Wbo

was

the

srnall

dork

mon

with

the

enormovs

note

wbo

sot

in

the

shadows

of

this

noiuome

place

lote

thot

ofter-

noon?

Why

did

he

keep

fingering

the

bock

of

bis

neck?

Who

wos

the

tall,

willowy

blonde

who

sot

acrou

front

hîm?

Why

did

she

keep

looking

op

at

the

celling?

And

l—Mtiednnuﬂmmﬁnî

l

have

no

idea

who

the

srnall

dork,

etc.

mon

was.

I

bad

never

“en

hirn

before,

and

hope

ta

God

I

never

see

him

again.

At

a

guess,

l

would

say

he

wos

fingering

the

bock

of

bis

neck

because

fie

suspected

be

was

developing

leptosy

thora-

The

tall

willowy

blonde

was

Ellen

Dag--a

rore

piece

of

Danîsh

r

let

t

payina

her

ten

shillings

on

bout

to

be

there.

I

could

iII

spore

the

moneyîaîutyl

needmeGd

filelr

ËÏÀPÏLÏ:

l:e:c:r.ocîl::

l

m”

celtentlon

of

Harry

Ackers.

Gold,

real-estate,

folding

money,

smalloibleruall

those

things

meant

Iittle

ta

Har

r

-—b

t

ha

l‘um

the

contents

of

a

pair

of

lS-denier

fuIIy-fasliioned,

and

he

was

with

you.

And

once

you

had

him

with

ou

something,

because

Harry

Îs

one

end

of

a

piece

af

string

tbe

other

end

of

which

is

attached

to

tl1e

Old

Ori

zou

the

Darkneu

that

Iay

upon

the

Waters,

la

tbe

lîps

of

Lilllth,

to-—l

swear

it--tbe

Absolute

itself

I

knew

tbît

if

l

cule?

fînd

out

the

real

origin

of

tbe

rot

that

was

spreading

so

fast

across

London,

Harry

was

my

man.

Ând

l

knew

tl'nat

worfh'

lo

during

Harry's

circuitous

daily

tour

oi

town

be

would

pas:

Roymond's

Coyf,

wouId

peer

In

brieil

and

would

th

me

mg

pass

by,

according

to

whetlun

lie

saw

trouer;

or

skirts.

Sa

there

sot

Ellen.

Y,

en

gay

or

i

And

l?

WeII,

lw—wltat's

that?

Why

did

sl'ue

keep

looking

up

at

the

ceiling?

Don't

be

sîlIy-—tbat

was

iqu

becouse

she

dldn

t

want

to

look

at

the

.small

dark

rnan

with

tlw

anormaux

nase.

Obvious,

isn‘t

It?

Dol

have

to

tell

you

everythi

Well,

as

I

was

saylngul

,

dear

reader,

lw

was

Raymond.

Yes.

Thd

bulking

barrell—cliested

figure

wrestling

Cigth

the

samovar

on

tl‘ie

countel,

it

is

no

les:

thon

your

humble

servant,

Sarn

Swivell,

private

investigator,

man

of

all

arts

Il

d

magncnan

to

the

Coth

of

King

Oberon,

and

Keoper

ai

the

Royal

Ïolly

to

boot.

Àllos

Raymond

at

the

time

naflurall’

:m.

great

lover

oI

the

grossly

obvious,

in

my

normal

manifestations

I

escliew

ovendeveloped

clients

and

gorilld

orrm

But-if

o

wont

to

rnoîntaîn

even

the

appearance

of

keeping

order

in

a

gaff

lîke

tbat,

you

bave

to,

show

‘iou've

got

what

it

take

you

when

a

few

et

the

boys

drop

around

for

a

punch—up.

Hence

the

get-up.

Fortunately

for

my

sanity,

only

needed

to

un:

it

for

o

Iew

haurs

a

week——I

don't

think

l

could

have

stood

rnvch

mare

of

standing

straighl

uprîght

and

still

bruising

rny

knuckies

en

tl’n

floar.

Of

course,

Raymond,

had

to

be

In

the

Cayf,

day

In

and

day

out,

no

matter

where

Sarn

Wol.

Ibis

was

no

grief,

thougli;

I

iust

switcbed

the

controls

over

to

on

exceptionally

stupid

poltergela

l

had

foolisbly

collected

in

a

mixed

swqt

one

rother

heavy

Midsommer

Nigl’it's

Eve.

I

tbink

somaone

had

put

medlcal

alcohol

In

my

potion.

Anyway,

It

worked

out

aII

rIgIe,

became,

altliough

this

poltergeist

couldn't

polter

wartb

twopence,

he

was

perfectly

suited

ta

running

a

cretin-

type

body

IIke

Raymond's.

Nice

deal,

really.

.

'Yoo-hoo."

Get

that

old

rebel

yell

.

A

shadow

now

darkendd

the

doorway--a

tall,

thin

beanpole

of

a

shadownHam/‘s.

My

luck

was

in.

The

tiny

bead

ducked

undor

tbe

Iintel;

the

tall

cadaverou:

body

àifted

towords

Ellen

Iike

math

to

candle.

Harry's

face

rmnbled

o

anal!

Iurrp

of

dough

with

o

dong'u-button

for

o

non,

a

beny

for

o

mouth,

and

two

enormous

black

prunes

for

eyes.

Eilen

beamed

bock,

the

while

l

flipped

up

the

lid

of

the

tourner

and

sidled

up

behind

them.

Ïhe

beonpole

bent

over

towards

that

enticing

unile--or

strated

to.

Sornetbing

stopped

him--my

enormouw

paw,

gripping

a

hanäul

of

looso

cootback.

Tbe

other

paw

came

up,

çipped

tbe

seat

of

Harry's

ponts,

lifted;

In

a

moment

l

was

carrying

hîm

horizontally

past

rhe

coonter

and

into

the

murky

hinterland

of

the

’6

I

Iowered

Ilim

to

the

floor,

with

my

foot

flrmly

on

his

choc.

He

on

there,

wrlthing

and

hining.

Quite

Iîterally;

l've

never

been

oble

to

get

Pli.

documentation,

but

I'Il

swou'

lue

wasborn

with

a

make

body.

His

tangue

îns't

actuolly

forked,

but

lt

Is

preternaturally

long,

and

In

moments

of

rage-nos

lus!

nom,

for

imtonce--it

flickes

in

and

out

în

paroxyum.

l

shoved

Iny

face

down

twards

bis,

stopping

iust

short

of

thdt

dortan

tangue,

and

put

on

my

tbe

Ape-Man

Face.

'Yeu

wonna

tolk

to

Elleﬂ,

bof?"

The

hissan

stopped,

the

eye:

drew

smoller

and

duller.

“Venu.

Let

me

go.“

"Yau

tell

Raymond

sometliing

firxt.

Thon

Raymond

let

you

talk

with

Ellen.“

(Soma

hopes.

Tl'ut

briglæt—eyed

beauty

had

take'n

ber

money

from

the

tIIl

and

skipped

out

the

chor

the

minute

l

havlad

Harry

away

from

ber.)

Silence.

l

bent

Iomer,

grimacan

and

expoeing

my

Iogged

incllorl.

'Who

Il

It,

Harry?“

'lss

wl'lat?"

“You

know

what

I

mean.

Wl'lo's

tearîng

up

the

gaine?"

Under

my

foot,

Harry

suddenly

rîgîd

a!

on

îron

bu.

Silence.

A

silence

that

went

on

and

on.

l

could

feel

the

aîr

in

thot

grim

place

tautenlng

os

thevgil

God

Almighty

wa:

hauling

on

tbe

gay-repas,

could

feel

the

course

plg-bristle

tbat

possed

for

hait

on

Raymond'l

scalpnmy

scalp—‘stirring

and

lifting.

Pressing

my

foot

down

flrmer,

I

rldsed

a

glance

around.

lt

vos

Impossible

to

see

post

the

counter

Into

the

Cayf;

three

feet

In

any

direction

around

me

the

air

I'Iad

curdled

into

the

comlstency

and

calour

of

oatmeal

porrldge.

lmtinctlvely

l

shoved

border

with

my

foot.

It

gave;

I

looked

bock

and

bien

at

Harry,

and

pave

a

yelp.

Ho

wo:

sidslno.

.

He

won

sunk.

.,

à

.

h

'

=

t

w

_

'

:hupe

alinéa

L’MÀW

AJW

Waîuç/Ma’za’w

MWÂW)dWÆW{;—Jw

4Ëoxwuäruld

Dtç

4bù4vtä%ﬁrul4

AL

äïuuno

mù./Èx44’âa

4/1:

dz.

’àw

1&4

74W.

nm“!

àbÂMJL.

«(i

ﬁa/W

ou»

Woï

0&4

"œﬁw

4%?“

dz.

1pä'æ’W:

un“

fjudz'rual

4M

4/1-

W/

Wc

face/ngé-

4,4

wm

ZMLM

4mww

ILLW-fw

aMW

ut

’QMW

W‘

m3014.

ll/ÆW

A:

J—c

W’m

ÆWM,

4/.

Mge—

a:

ML

'

The

shape

which

the

triquetra

M‘

mple

wample

Knot

assumas

the

coins

ﬁhe

Daniah

King

Anlaf

of

1-

Northumbria.

is

certainly

suggestive

of

the

"triskele"

ra

of

tho

three-cornerad

Knot.

curve

0'

Soppe

x

z

ces

t(3

ces

1)

the

Knot

31'

cor:

t

sin

t

z

r

sin

t(?5

ces”

_

1)

q.

Example

Ribbon

of

Machina

A

tue

thrﬁe

Ringsif

one

takes

zmail

(me

ring

tL-Ie

_'

"—

ä

-—

p1

other

two

are

disjoined.

5.

4_1ÿ

l.”

}

Thus

each

rlng

the

initial

ribbon

supports

the

tvo

othere

'the

ribbon

of

Hoebius

is

not'

orientable

By

making

one

or

more

cuts

complex

topological

multiplications

can

be

transformed

into

figure

a

simple

connection

10

tho

ribbon

of

Moobius

being

sactioned

twice

x

=

a

sin

Paranotric

equationa

a

sin

3e

x—,

Guldhorn

og

Lukkehiul

Asger

.lorn,

Danmark

Pour

la

forme

-

Asger

Jorn,

France

Rindermalereien

aus

Australien

cat.

Kunstgewerbemseum,

Zurich

Vollultunst

aus

Groubünden

Kunstgewerbe

museum,

Zurich.

Cat.

Art

nouveau

und

Jugendstil,

Um

1900

Kunstgewerbomuseum

Zurich.

Cot.

De

l'art

des

Goules

a

l'art

Français

Toulouse.

Cat.

Kunstgewerbe

der

Merowingerzeit

Mainz.

Cat.

La

reine

Bathilde

et

son

tonps,

Exposition

Merovlngienne

Ville

de

Chellos.

Cat.

10.

Le

musée

départemental

des

Antiquités

de

la

Seine

Inférieure.

Cat.

Il.

Le

moyen

age

et

les

origlnas

de

L'Europe

Ch.

Dawson

(translated

from

English)

L'Europe

préhistorique

Sophus

MDIIer

(tronslated

from

Swedish)

13.

Den

Danske

Billeàribel

(kalkmalerier

in

de

Danske

kirker)

Braby-Jchansen.

l4.

Kuml

'51,

Kuml

'56,

Kuml

'59

aarbag

for

Jysk

arkaeologisk

selskab.,

Danmark

l5.

Damnarks

Sanglege

Tvermase

Thyregod

16.

Jaar—boek

Twente

I962,

Holland

Merovingische

ombochtskunst

Glazema,

J.

Ypey,

Holland

l8.

Van

Friozen,

Franken

en

Saksen,

350-750,

Holland

l9.

Symbollster

l

red.

Ragner

Josephson,

Sweden

De

Volksvermaken

ter

Gouw,

Holland

187l

.

Synagoga

Stadtîsclte

Kunsthalle

Recklinghausen.

Cah,

Germony

22.

Engravings

from

Narmandy

—

Scandinavien

lmnstltute

for

Comparative

Vondalism,

Danmark

Cultures

materlelles

de

la

cote

d'lvaire

Hollas,

France

The

bock

of

signs

-—

Rudolf

Koch,

England

(translated

from

German)

Die

Saline

der

Sonne

Marcel

Homet,

Germany

(translated

from

Franch)

DieWelt

ols

Labyrintln

Gurtav

René

Hocke,

Germany

Gedichte

Paul

Klee,

Switzerland

Paul

Klee

Werner

Haftmann,

Germany

Jackson

Pollock

O'Haro

30.

Plastiek

des

Jahlhunderts

Caralo

Gideon

Welckel

3l.

Paul

Klee

-W.

Grohmann

Gaudi

Le

Corbusier

33.

Le

long

voyage

Tapiwerie

-

Jorn,

Wemaere,

France

34.

Jouons

avec

du

papier

Th.

Bank-Jansen,

France

ltranslated

fram

Danisl'I)

35.

Premiers

preuves

pour

devenir

scout

de

France

36.

Le

livre

des

noeuds

par

Kaa

France

37.

L'Art

populaire

en

Roumanie

38.

Die

Nardgermanen

Eric

Graf

Oxenstierna,

Germany

(translatcd

from

Swedish)

39.

Les

Arts

primitif

Francais

Art

Mérovingien-art

Carolingien-art

Roman

Léon

Gischia

et

Lucien

Mazenod

40.

Art

populaire

tamel

t

ll,

France

4l

.

Les

arts

décoratifs

Turcs-Celol

Esod

Aneven

Das

Erbe

unseref

Aluth

Franz

Carl

Endres,

Germony

43.

Archaeologia

volume

96,

89,

9l

87

Miscellaneous

tracts

relating

to

antiqulty-socioty

of

antiquaries

of

London

.

w

44.

Tl'Ie

early

Christian

monuments

of

Scatland,

a

classified,

illustrated,

descrptive

list

of

the

monuments,

with

an

anolysî

of

their

symbolism

and

oroamentation

Romailly

Allen,

Han.

Scot

-

Dedinburgh

1890

45.

Principles

of

Topological

Psycholagy

Kurt

Lewin,

l936

England

(translatod

frorn

Gennan)

Photo's

wicli

are

nat

from

ene

of

the

bock:

ara

klndly

given

to

us

by

the

Scandinavlan

lnstitute

ai

Couperotive

Vondalism.

Koptische

Geworbe

(Textilkumt

der

'dgyptischen

Frut-christen

des

2.

bis

Jahrh.

Kunstgeworbe

museum,

Zu'îch.

Cçt.

SHŒT

TRIP

CHAOS

h

Someone

wax

rocklng

the

bout.

This

n°17,

os

said_by

tne

aurnof,

George

Hoy

to

be

mode

in

a

topological

mariner,

coincides

strangely

enaugh

with

a

worls

realiud

in

the

l5th

centuary

and

completer

unknown

to

the

author.

Among

the

Church

(chalk)

palntings

in

Danmark

happen

ta

live

tlw

very

xame

image)

as

used

'by

George

Hay

in

his

story:

short

trlpp

ta

chaos.

Tire

deformed

creatvres

and

moving

smells

are

happîly

put

together

and

mixed

up

on

the

bore

walls

of

these

smalbwhlto

churchcs.

How

did

tllm

images

mpeal

on

the

wolls

mode

by

a

greot

Renaissance—master-lwnd,

and

how

did

tney

change

place

a

500

yocrs

Inter

to

renew

their

plastic

eappacities

on

the

other

sirle

al

the

Channel

in

the

stary

af

t'ne

new—choissanca

artist

George

A:

wid

tl'te

cotiser

had

never

seen

or

even

fteord

of

those

prae-topological

church-images

in

far

away

Danmark,

theîr

is

no

doubt

that

until

the

very

abusent

et

this

printing

of

hi;

text,

all

possibility

of

any

early

similarity

was

quit

unknown

to

him.

We

can

only

conclude

that

it

might

happen

to

be

due

to

the

great

faculty

ol

deformation

and

derivation

a!

the

topalogical

placticties

Wl'lîch

forces

their

products

to

penetrote

onywhere

nt

any

tirne

in

any

farm.

Where,

when

and

how

will

the

be.

Therefofe

any

deformation,

reproduction,

modification,

derivotion

and

transformation

of

the

tîmes

is

permitted.

83

A

INTERNATIONAL

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55H

EDITION

in

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lron

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|nca's

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pan

ni

n

mmmd

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nl

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comcnl

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ma)

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nl

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arc

dcxrrminud

mmuy

hy

(x)

“km

in

fmmd—

u:

r

persan,

(:1

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leunvî

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n

region:kc!zmwl'1]drgrcn

n!

(liant-numînn

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lh‘

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1

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son

nﬂo

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pue

“1

4‘

l962

European

critique

ai

the

inadequate

programme

which

lnas

iust

been

presented

ta

President

Kennedy

and

Governor

Rocke-

Feller

by

the

ocademic

staff

oi

Universities,

Colleges,

and

Research

Institutes

far

New

York

City

and

the

Cambridge—Boston

Area,

with

the

aim

of

bverthrarwing

il'tQ

absurd

procedures

oi

"civil

deiense"

in

the

United

States.

We

should

like

to

point

out

the

absurdity

and

complote

emptiness

of

the

decalratian

mode

by

you

as

the

"Civil

Defense

Letter

Commettee"

in

the

l'New

York

Times"

ci

Saturday

December

30,

I961

(International

Édition),

uniess

one

considers

lt

onlyas

a

pure

declaration

of

personal

conscience

against

the

new

American

defense

palicy.

We

regret

the

tact

thatthere

cannot

be

found

a

single

element

of

real

importance

in

all

your

opposition,

and

we

propose

that

you

ioin

us

in

a

concrete

attitude

towardsour

common

oim.

We

therefore

suggest

that

you

adopt

the

positive

programme

of

the“Comit6

European

pour

une

Relance

de

l'

Expansion

Humaine“

(European

Committee

For

the

Persuit

of

Hurnan

Expamsion)

which

proposes

to

croate

a

new

cultural

Renoimnce,

a

new

practical

liberty.

'

For

this,

it

is

necessary

to

subscribe

to

ou!

three

fundamental

demands.

l.

promise

that

shall

never,

personnaliy,

under

any

circumstances,

set

foot

in

an

atomic

shelter.

lt

is

botter

to

dîe

standing

with

all

tbe

cultural

heritage

oi

humanity,

the

perpetual

modification

ai

which

must

romain

our

task.

2.

l

refuse

to

have

anyhing

whatsaever

to

do

wîth

the

new

aristocracy

of

the

caves,

and

never

to

drink

in

the

company

of

on

owner

or

builder

of

an

atomic

shelter;

Far

thîs

subterranean

aristocracy,

even

if

ît

manage:

to

survive

the

disaster,

will

be

of

the

quality

of

sewer

rats,

and

could

in

no

case

be

considered

a

continuation

of

the

human

race.

3.

At

this

point

in

our

present

situation

it

is

not

so

much

the

thermonuclear

war,

but

rother

the

threat

of

this

wos,

which

shows

the

absolute

bankruptcy

of

all

the

politicians

in

the

world.

The

capitalist

or

bureaucratic

leaders

ot

bath

East

and

West,

already

moka

use

oi

their

bombs

every

day,

in

order

to

secure

power

for

them-

salves.

Only

it

one

realizes

thot

they

have

placedtl’remselves

beyond

the

law

can

one

establisha

new

legality

l

therefore

pledge

myself

not

to

expect

tl'le

necessary

upheavals

oF

society

by

any

of

the

existing

formations

of

speciaiised

politics.

ln

the

First

stages

ane

can

demanda

neutralisation

ai

the

detense

program

ot

states

by

theirtransference

into

anArmed

Force

controlled

by

the

United

Nations.

At

the

same

time

military

programme

of

conquest

could

be

submîtted

ta

a

warld

organ-

ization

like

U.N.E.S.C.O.

thaugh

radically

transformed

and

divested

ct

its

dependecy

upon

state

bureaucracies.

This

organization

would

coordinate

the

development

of

spacial—interplanetary

activites

of

different

groups

intoa

perspective

oi

human

solidarîty.

Only

the

unification

ai

our

military

traditions

in

the

whole

warld

towards

a

spacial

expansion

can

guarnotee

world

peace,

the

alternative

of

peace

and

atomic

war

beeing

false,

because

in

iact

there

is

no

chaice.

The

choice

which

imposes

itseli

upon

modem

man

is

tbe

continuation

of

imperialis

competition

oi

human

destruction

or

the

Renaissance

oi

humanîty

on

a

spacial

scale.

But

the

new

Frontier

of

mankind

is

not

only

in

Outer

Space;

it

is

in

tire

radical

transformation

of

life

on

this

planet.

If

the

nations

can

corne

to

an

agreement

to

maintain

peace

in

transforming

it

into

spacial

expansion,

on

the

question

ai

total

expansion

of

mankind

we

cannat

corne

to

an

understandlng

withthe

"nations".

Weare

not

unconditianal

partisansai

peace:

the

profound

error

of

the

intellectual

Americans

in

their

defense,

devoid

of

imagination,

of

the

actual

peace

which

they

wish

to

preserve.

Nobody

really

Iîkes

this

peace,

which

nourishes

not

only

the

menace

of

such

a

was,

but

also

the

total

alienation

of

actual

dain

lite,

and

the

absolut

boredom

of

a

society

on

the

road

ta

cybernîtîsation.

Peace

remains,

Iike

this

lite

itself,

without

importance;

and

what

is

important

is

human

expansion:

tire

creation

of

events

tbat

suit

us.

We

are

going

to

inforrn

you

ingreater

detall

in

our

reviewMUTANT,

which

will

appear

in

the

spring,

of

your

underdevelop-

ped

attitudes,

as

well

as

those

of

the

Russions.

We

hope

that

many

of

the

subscribers

ta

your

manifest

will

iain

us

in

this

perspective,

which

can

give

a

future

to

your

direction.

Tin

Round

Pond

ai

a

May

morning.

Tha

Pomp

and

Circumsîancc

March.

Gonﬂan

l

once

grw

in

a

atone

sink.

The

Alphablu

And

in."

was

lighî.

And

rha

athers

wara

talklng

Iogeiher

and

l

could

hear

rhum,

and

me

fiwm

lookan

acrou

a!

ma.

Undar

my

fingors,

[in

formîca

was

cool

and

hard

and

mec!

and

Lamina],

And

hard

and

mon

and

ratîanal

wa:

Iny

mînd,

a:

il“

barn:

of

vîdory

saundad

acres:

ria

rnargu

of

fine

warld,

and

all

lin

îlags

fiat

avcr

Flew

snained

l‘ard

and

nm

in

rha

winds

ai

vîclory.

A:

fram

a

grau?

dinancel

was

myseli

rislng

irom

rire

tabla,

rha

follomîng,

and

aur

dopanuro

irom

îha?

place.

Sîill

from

aiar,

l

saw

our

cab

riding

lo

Naning

Hill

Gain:

a:

in

a

draamnyoî

brîghî,

wlîd,

crystal-cloarni

saw

l!

failawad

by

a

groaî

Progrcn

ai

vic'arîous

charîaîs,

was-horm,

conard-wagons,

b7

ail

lime

man

and

women

wha

aver

fough’

againsî

coniusîon

and

doubî,

and

won.

Brigh'

khan

wan

their

armour

and

'he

lighl

on

îheir

weapamc—buî

brlghhr

and

sweater

and

iniîninly

ioyful

rite

light

an

finir

Facas.

Hall

imam,

and

inann

dans

na!

carn,

wha!

had

bean

brwing

ai

me

Winpy

Bar.

When

aur

cab

anived

îho

placo

mon

lnfomo

of

billowing

Flama

and

Ihlck,

oîly

black

moka.

The

Opponam

knows

iusiicenof

a

kîndnlwî

no?

morcy,

and

lli

iiwy

fa.

wha

blunder

in

his

came.

l

slçr,

lhen,

far

a

long

and

resliul

lima.

Tin

las!

îhlng

recall

îs

9h.

sighl

of

Maloney's

ann

raun

Mary'n

shou'dars,

a

rast-

cf

bock,

and

Oh.

saund

ai

many

volcan

singing.

THE

END.

90

The

Scandinavlan

revue

Drakabyggeî

ha:

published

an

article

which

ihey

callad

Gog

and

Magog,

signed

wiîh

nome.

This

is

an

obvîous

defaurnemem

of

an

article

called

Luxar

or

Martyr

which

wrore

indaed

and

zend

lo

iham

la

go!

publîshed.

Nwould

îo

make

a

reflecrion

on

anoiher

daîournarnenî:

and

well

ihe

manifasf

whlch

declares

rhe

Siiucrafie

baing

une

lo

us

by

“Drakabyggct”

and

which

appeared

în

fin

Tîmcs

(page

60-62),

was

evidenîlynoî

ihe

roal

form

oF

aur

doclararion

on

Siîucra‘lic

Socioîy.

Werhcroforc

published

il

as

ihere

comrlburlon

wîrhour

furthor

connoction

fo

lino

"Mi,

in

a

rdher

illisible

Happy

ro

b0

las?

able

to

print

the

changed

poims.

We

wlîh

ail

our

force

sign

haro

rire

real

manifest

for

a

Sirucmvic

Saciafy.

Drakabyggers

derourncment

capaciries

mighr

be

considored

a:

an

answor

la

rire

poor

aîfack

mode

by

lsidor

hou

on

il“

lack

of

'his

detournemenh—spirit

in

aur

Sifuaﬁonisrîc

derîve

blood.

We

are

graieful

ro

Drakabyggar

la

add

thon

points.

Red.

As

the

translation

oi

lin

definii

declararion

far

the

Situcraîy'did

no?

arlve

in

rima,

w.

wîll

only

be

dais

fo

plblish

il

in

fhe

coming

number

ci

the

Situationisl

Times.

Rad.

L

v

E

j

c

m

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caun-thie

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corners

of

nogutîve

fefruhed‘on

.G

.'

The

iuncﬁon

befween

îwotetruhed'a.

The

sysfem

i5

non—reducdonr,

u

basic

disconﬁnuous—conpression,

conﬁn—

uous—fensîcn,

or

"fensegvîfy"

struc—

Pure.

Bail

ioinfs

CG'

and

CG2

ure

puHed

fowurd

une

unoîhar

by

verHcaI

fen—

sîon

stoy

rhus

Iwîsfîng

universally

C

2/1.

Tower

port,

Posrmon

Fera‘inond

Cheval

Drôme,

France

Gaudi,

burcemno

terrohedron's

centre

of

gruvîty

(CG)

ha:

four

radîqls

from

îhe

CG

fo

the

four

corners

of

rhe

refrahedron.

‘iointed

legs

outwurﬂytheîr

oufword

huis?

being

stablyrnsîruîned

by

fin".

ang

clowre

Y,

X,

Z,

W.

Hare

we

have

stock

of

CG

radial

tube

feiruhedro

51mn

wlth

horlmnîul

(qpproximafe)

tension

slings

and

verﬁcal

tension

gays

and

diagonal

tension

edgos

of

tl’w

Four

wpor—lnp-

osed

fatrohedru

whlch,

becauu

of

9h:

(upproxîme'e)

horizontal

slîngs

can-

nor

corne

ony

close!“

to

on:

aneth“

becuuse

of

thelr

vertical

gay:

cunnot

gef

owoy

from

on:

unoîher,

and

thora-

fore

compose

u

noble

relaflomhlp,

o

sîructurn.

Tire

Patern

et

Situeloglcal

Agent:

i:

based

on

twe

mais,

«Mat.

gave

us

tire

pau'biilty

ta

penetrde

in

tire

richneee

ai“

Situ-

ological

credlon:

A)

Eariy

Christian

monuments

in

Scotland

5)

Principell

ai

topologloal

peychoiogy

—

Kurt

Lewin

"le

motiremotioai

(amiysls

sitar)

Intraùrctîon

is

kindly

mode

iry

Max

Ducoille

lt

le

an

Mdence

tint

thon

Apecta

a.

vary

ineanplete

but

we

hçe

that

tbey

will

give

the

necenary

loucir

ta

continue

tir.

very

urgent

reswelr

on

Sltuoiog'y.

ÎOPOLOGICAL

OF:

Hoppo'scurve

Tirekrrnt

‘l’be

ribbonofMoebius

Goornetry

ai

situation

a

geornetry

whlch

is

not

purer

qualitative

as

is

the

Analysis

Situe

et

Riemann

had

been

anticin

by

Lelbnlz

and

Grosernonn;

but

its

ancestry

is

best

traced

ta

Euler,

to

hleresoiution

of

tire

problern

ai

the

/

bridges

of

Konigsborg,

which

is

prennted

to

tbe

Academy

oi'

sciences

of

SI.

Petorsburg

in

i735.

Tire

first

systemotio

treatîso

on

topology

îs

ottributed

to

the

German

Listing.

lt

appeared

in

1847.

under

tire

title

'Vorstudien

mr

Topologie“

in

l85l

Riernnnn

first

mode

une

ai

conblnativeür

algebraîc)

topologyln

deternlrningthe

relation

between

surface

and

funation;

then

Conter

in

1859

ereated

o

comprehenslve

tepoiogy.

Finely,

triaurlce

Freciret

con

daim

tire

distinction

cf

iirst

understandlng

tbat

tire

essentiel

lies

in

tire

topologicoi

structure

betweon

eiements

oi

thetotality

and

not

in

tiroir

nature,

which

Ieads

irim

to

define

tire

topology

ai

abstract

pacee.

Besides

applying

topology

to

tbe

study

of

ditferentîal

equoiions,

ta

tire

calculatîon

oi

voritions

and

to

tire

theory

oi

functione

oi

variable

conviens,

l

must

mention

tire

qaplîoatlon

of

tapology

to

peychoiogy,

a:

stated

by

Kurt

Lewin

in

"l’rlnciples

oi

Topological

Psychalogy'

(1936)

EXAM’LEI

'lhis

curve

ls

a

curve

ta

tire

leFt

whiah

forme

a

knot;

it

in

defind

parametrically

by

tire

equations.

rucostiîlcoet+

l)

I5

coet

sint

:=sint(?5coe

t-l)

Weaansaythe

clrcunrferonceisdefined

by

the

eauation

x

tcoet

'sint

Theee

twa

aurvee

ore

itomeomorphic,

but

ne

cannat

pan

front

one

ta

tire

other,

tiraugh

an

antirer

homeomorphic

spaee,

beaouee

theee

two

ourvee

have

net.

topoloaicolly,

tire

same

situation

in

puce.

EXAMPLE

Il

MM.

Let

un

ooneider

a

terur

o

eurface

pndroed

by

a

clrcumference

turnlng

around

a

ilxed

axlr

ai

lts

plan

and

not

aoeeing

lt;

nez!

let

ne

eut

iront

lt

a

notion

SS:

it

wlll

give

a

tube

whlcil

con

Ire-mode

into

a

knot.

Let

us

bran

together

tire

two

enù

and

glue

tirent

in

euch

a

that

tire

points

tl'iat'

were

aolncldlno

on

tire

ring

naw

coïncide

on

tire

surface.

At

eachlpoint

et

the

ring

rue

con

find

a

oarrependlng

point

irerrl

tire

errfaoe

oi

tire

knot.

Two

adiolent

points

correqrond

to

two

adrolent

paille

on

tire

other

surface.

Tire

ring

and

the

knat

tiers

carrequ

in

a

bl-unequivaoal

and

bi-contimal

mœformotion

în

a

horneomorpiric

çace.

lut

lt

le

inoulbie

te

pas

tram

one

to

tire

other

wltilaut

teorlng

or

re—oovering,

beoouoe

eacir

figure

le

bathing

in

a

pa‘ilwlor

çace.

We

muet

cernruct

a

patievlor

l'amphi:

qroce

lntervenina

in

raidlve

topology.

lt

il

easy

to

undentand

that

tire

W

tram

tire

ring

to

tire

knat

doee

nm

redrce

ltoeii,

te

o

continuol

sequenae

ai

cqracioi

untle,

betore

tire

tea'iollwing

SS'

it

had

2aorreçondlngpoints

ta

eaohpoint

of

tire

clrcurnference

prodrclng

tire

ring.

EXAMPLE

lll

a)

Tire

rlbison

in:

only

one

eùe.

ln

foot,

in

turniœ

In

tire

une

direction

startlm

tram

A,

we

descth

AD,

thon

tire

ride

IC

ndDarelnter-mr

ondmretumtpA.(CbeiœmergedwithA).

le)

Tin(rli:lron

le

a

orie-eldee

:2“

Vie

con

pas

tram

slde

to

tire

ather

witirout

araerlng

tire

«lue.

Tirle

l3

euein

verltied

in

tire

route

pp'

after

twlrﬂng

and

gluelng.

e)

Tire

rilrban

:e-u':

Igluante,

beaause

if

lt

cauld

lt

would

ire

potable

ta

eilift

a

srnoll

clrcunference

on

lts

surface

by

dlearlbiœctlteoednaoantlnlomm

lnmhowaytirdtwoparilorlafthis

clrcurnference

wwldh’anthe

rame

«indien.

o

d)

livesirould

maketlrerlirbonASCD

aetieougir

atwlstai

rao

ailreeectlenoftherlbban

will

glveoneslnale

large

iece.

1m

seotlen

Inde

on

tire

glven

ribban

vlll

give

me

No

lnterieoed

perte.

A

tillrd

section

flore

eaell

ou

lendirenr

it

wltlrout

divldlœ

ltseif

u

regard

lendir.

Afaurtlrsectlenandtlre2rlbberueqeratettnqeiveeln4

e003.

0

Nnnﬂtwedrouldmrimuiuthhenatvlﬂef

,540

eta.lrnnde.tlrenlturn,ilitunetc.werlrould

menti!!!

"Il

relult.

"l’heuteeelsoneeldedifttreruüerat’twlstiaumenf

mm,

'

mË-är

rater?

«L.-7...u:m»gr«nm

M

Fu-

l.

u

pan—«71353

à?

.

f”

.,

._k

"u.

cdv-‘d.

'

.‘

:-

l”

OFF-#4

81

MMMIË-BÏE

'_

MW”,

_

mwww

ä:

ﬁfrämunïtäggçg

me»;

sa};

“"5

satin

Ï

“æ

,cunut

Aﬁn»

lib-t

1,0%:

w.çähçæmærwf

nu-

’Œ-

'

a.“ng

qul

“Î

mwﬁadm

4'114”

dmle

LF

uf'qmeH-d

mule!“

g‘ïmmwf'

’11

r4

Ë"

"l

un

.xvmrsa

æ

,n

242.

Leonotdo

du

Vincî

47

W

R.

R1

R,

(a)

—Topnlnm-

nl

un

milan.

(a)

Scies

cl

"Il:

wmwu

commun

plnl:

(b)

«un».

wilh

commun

part-L

i'.

palan;

PI.

pﬂwn:

r.

n11.

Il)

Locmnoﬂon

1mm

B;

(b)

rﬂnlmumm-I

-n

‘..

v

\

À

s

see

Sweden

_

f

n

x

G

®

/

72.

Mexico

73.

Mexico

_.

v

mmño.

Honte

l‘?‘

\À

«l

.

nelczrmtnr

L‘SvOWÇJUDTH

773.

Mexico

75.

Mexico

76.

Arowokicn,

Torumon,

Amozon

77.

Tronsdanube,

Hongorlo

—

Sculptured

heod

Oseberé

78_

usenerg.

Gnä

.

r0,

52'239"

n

7‘:

Prc.

4L—Topoloﬂy

a(

tho

‘3‘."

personw

motar—

.

nain;

I.

lnner-

n-

ç

ïùm:

ÿ.

peñphcrll

pur!-

al

I;

central

9ms

I;

EA

_l

comment.

174.

(6))

Q;

.—Triquo(n

Km)!

u

wulu

ulm

Loop.

‘Rosemnrlzie,

.\'n_

)

,_.iJ

.

m.

Scoîlond

\\)

A,

Ë!

‘ï.—'I-

aum—

tans“

36:).

Ainu

wny

oÎ

corrying

child,

4

î70."V‘vege

zum

Kno'en"-Poul

Klee

[M

_PW_CO,J

H

K

"

pllcod

ding-Jumy.

n

‘d

«Mu

hnw

to

xhc

Norvuun

"Xovn's

knol"

on

ont

b-nd.

r

hou

xo

lie

me

mm

knul

ou

un

bnndn.

Elimbelh

\'illirr't

"ﬂac

lnvex'n

Imam".

Iôô.

Gcrb

uctor,

Cosr

“12-4

’îï‘a

.5“

167

vﬂmimunun

nî'

163.

Linen

fringe

of

îhe

"Pu‘chlbcnren"

.

169,

Holf

zzzzzszQZZZÿZ-ïZÂ-‘Z’ÏSJ

H.

wnmrkn'.

Nu.

l

K

>Thm

limes

a

lrumlovc's

hmt

l72.

Vindumhede

hoirplcitspcnmcrk

I

ﬁe

secure:

l"irm

bl‘

me

knoL

ﬁrm

Ïnu

alm'unnnl

(vi

"lie

“mm

nll‘hyÀnII'.

On.

plun—vl

vilh

mm

"mua",

lhe

mhu

'im

leu

"man".

50H»

uî

[hem

nn-

nuanuLvIund

à]

mm:

"la

Il

PI“.

Kil!

‘nM

lrurnl

hnh'

la

lie-

xh-

In).

h"

M"

h

may

his

love

endurer.

\

Ïndissaluhltmcnî

\

_

-‘

“

.

.de

177.

Roman

Cutholic

.

_

unis

praylng

Image

(196,2)

“s

ﬁxé?!

178.

The

Corrick

Scout

knof

COUDRE

coma.»

"v

(au

AVANT

Ê‘Aô‘l‘ïV‘ABLV

{à

29

.

_

AIIIImÈ—mL—

l

Study

în.

the

morphology

of

orange

peols

(1%2)

by

Pierre

Alechinskypnd

Reînhoud

d'Ham

277.

trou:

'StJmcia

and

the

Wolf

cf

Gubbio‘

a

salantic

opera

in

two

acta

Massa

au»

0'”

text

and.

mueio

by

Stefan

Thamarnon

FATHER

editod

and

orohaatrated

by

Alu:

Cohon

'V

lie

'has

no

heartl

Paterfamillas

mais:

“A

Ha

has

heart”

l

x

1l

i

ï“

*-

i

1

.

:F—Jîîﬂ.

|

I”

ﬁlm-1

a

H8

:

eut

‘

off

:

portion

ofanotherfa

n

mlytreexformb

lygraftedontothes

I

H8

I185

tocktoformanewgrow

thxtumsouttobeast

erilesçamenconve

“panel-f

rceiLÇËOpc—tal

naspntex‘fa

01m”

aspaterfam

59m

aspeterïaci

double

haspaterz‘

‘l

flower

iSSpaterfa

1

with

aspaterfar:

Fatal/na

spaterfam

a

v:

.

rfamllmaspa‘cer

r.

l

:‘amlisspaterf

1

ou.)

argillaspaîurfa

en

m

t

e

:mliaspaterfam

h

iliaspaterfami

e

'3__

:h:

;:'-

magnat-ami;

5

statue

7

iaspaterfamili

p

“‘

aspaterfamilm

r

1,3

J’ËÊ”

_no

heart’.

r,

c

spaterfamilias

âme

youmest

patert‘amiliasp

L

bud

who

lest

aterï‘amiliaspa

1'

all

hopc

and

terfamiliaspat

Ë

n‘

""7

Will

preæently

erfamiliaspate

t

‘—

4"

fal‘.

off

and

rfamliaspater

nov;

mac

familiaspaterf

has

no

heart"

new

amiliaspaterfa

.

'[

a

miliaspaterfam

zliaapaterfami

É

'

ZBOJnsfrumenr

te

lia“

_

apabeusmll

,"i,

.

4

v

iaspaterfamili

>—‘

v

’

m

‘L

1

a

aepeterfamilia

spatternpaterf

59

278

Open:

Semonlîc

dîverﬁssemen's

279.

Heewp,

.

v

Q

.

o!

in

un

A

n

Ring.

\>\\

l

.

K

_

ë

.

‘<

ï

:

K

4

l

:

.

v

n

w

V

n

Naturel:

docitinns

Ire

bond

upon

o

foc:

resuleing

ou:

ol'

o

preliminary

neoenity.

As

elle

impulse

of

monËind

docides

chie,

reculan

from

on:

point

lie

con

no:

alwoy:

rengaine

nature'l

woy

of

nains.

Man’s

impulse

dots

no:

resul:

ou:

of

o

nacesiry

bu:

con

crane

one.

Tint

i:

why

mon

ou

o

mer

il

luxury.

The

noturisr

ethic

in

o

contradiction

to

crenüvo

mnnkind

o:

i:

elle

plume,

beeoune

nlher

of

(hem

go

ou:

from

an

impulse

m

creation,

but

by

disconsidering

impulse

doe:

no:

mule

ou:

ol'

noncesity

but

can

crane

une.

Tlm

i:

why

man

u

a

croahor

i:

luxury.

The

onurin

ethio

i:

a

contradiction

vo

native

monkind

is

due

plomnic

bonus:

neitller

of

rhem

go

ou:

from

an

impulse

no

creuion

bu:

by

disconsidering

impulse

:hey

30‘

ou:

from

'either

nuure's

or

from

socio-

Icienciological

neseessities

which

a

priori

are

ami—luxuriant

The

puritanisme

os

woll

in

iudoism

as

in

chrisdonisln

deniu

any

acception

of

eitber

impulse

or

luxury

and

:herefore

homme

icomclmie

eu.

As

lhis

menu

deuruction

of

on

essential

aspect

in

mankind,

else

hein;

had

cmœd

a

martyr.

On

Ibis

base

due

christian

and

democratic

oociety

developed

ion

vrlm

ie

in

nov.

The

place

of

cmtion

boum:

more

and

more

overwhelmed

by

du

indumioliuüon

ol'

and-luxurious

fields.

And

by

du

luxury-indunry

whieli

lus

becmne

du

pure

ourrogote

of

impulnes.

Nevenlleles

mon

creues

ond

is

purdlned

by

u

well

:he

uni-luxuriant

n

by

die

surmgm

luxury

par:

ol'

locwty.

Only

by

tryin;

sepnrote

creolive

mon

from

miety

or

dednring

him'no

mnrtyr,

tIIe

purinnniam

con

deny

rhe

existence

of

nnorganised

impulses.

The

cotholic

churolm

have

beau

oh]:

m

taire

in

a

par:

of

creotion

by

foeusing

on

du

nooeniry

of

iu

ex-

imnee

and

o:

(il:

me

(in:

witll

mer

uœpting

the

factor

of

impulse.

vidant:

dmurning

i:

inno

du

apriorial

neoesieiee

of

ie':

focus.

The

came

'ilil

byzantinin.

'l'he

sa

alled

luxeury

of

these

institutions

m

andains

else

dan

due

no

called

poveny

of

iudaion

and

so

called

protestant

poritonism:

:hey

are

zhe

obsoluœly

unimpultive

onusiq.

Only

by

escaping

from

Ibis

fake

symbolistic

organisations

motion

lus

been

oble

no

develope

in

indepen-

dence.

The

suffering

of

the

homon

hein;

for

Ibis

neighbour

in

n

false

quuory

whicli

lus

nuer

been

mepœd

by

luxoury-Imn

a:

Iheir

rufl'ering

permit:

only

m

be

for

xhemselves.

Luxoury

doer

nm

permit

martyrs.

Therel'ore

du

judaic

chrinin

allie

cannm

aooepz

titis

refusa]

of

monyrship

a:

i:

destruys

rheir

enlire

concepts.

Neither

can

the

social-demande

sociaies

as

rhey

are

based

on

d'une

concepts.

That

is

why

only

in

:he

no

colled

univin

of

popuhr

cmtion

the

escape

hui

been

paisible

withoot

being

eut

off

compleoely

front

:he

emire

miety.

'l'be

sepamion

of

creazive

vorlds

like

science

and

due

arts

fmm

vulgarimiom

lus

only

engraved

:heir

si-

tuation

inside

:be

social-demande

vorld.

JAQUEIJNE

DE

IONG

LUle

0l

MMÏYDOM

NM;

doeiﬂom

a.

bond

won

o

[ont

mollan

ou!

of

prollmlncy

nocoulfy.

M-h

lquloo

bu

no.

nul!

ou!

oî

mnlly

bol

ho

on

ctooto

m.

A:

li

le

lwulno

In

oxmltlnd

winch

docidoe

fille

prdlmlnay

nooololly,

ho

canot

olwoyn

Mil.

nduo'a

woy

of

ocllœ.

MW

Il.

min

chic

l:

mawy

lo

crooﬂvo

nul:an

os

ls

un

plolonle

olllle,

boequ

noier

of

nom

mon

from

lho

lnçuln

9o

crodo,

MMM

bylgnælngllllﬂlpuloo,

Olloyanonoîo

olthoritwnlllo

noeo-ltloe

of

nohno

ofSoelo-oolomology,

Midi

o

priori

ao

ml-Iunrlou.

m

purltonlonln

Judol-

on

woll

ln

Clrlûionllydmlod

onyoceçhnco

of

ollllor

lnpulooof

luxvry

ald

llwofonboooœo

loonooldlc

de.

A:

"Il:

mon

dodde

of

on

o-odlol

«pool

in

Mimi,

lbo

lunch

boqu

hud

croc-d

o

nutyr.

On

lhlu

lanocltlolm

and

donnent":

mloly

dovdqod

lnlo

vlan!

li

le

m.

'I'ln

floldof

cuollon

boom

moto

and

moto

WHùdby

ﬁnlnùdrlallnnﬂon

dmûI-lmrlolnﬂolù

ondlvy

linimry—lnàærywhlehhu

booomolho

plnwnognNon

of

lnpulnon.

Novatholo.

nm

“and

lopunuod

byllio

dl—lumrious

oovnll

by

Illo

omopnlo

quurofy

sldo

ol

mldy.

Only

by

lrylœ

le

mon

onoﬂvo

mon

front

soelory

or

by

doeldnq

hlm

In

nmyrùn

con

pwltmlln

dony

"Il

oxltoneo

muni-Id

lnwlloo.

Tlio

Cotliolle

olwreh

ho:

boon

Ôi.

lo

ùoorb

n

par

of

orodlon

b7

oonoomlm

on

tho

mlulîy

of

lu

oxlmo,

whllo

nov.

noeqllng

fllo

facto!

of

lnpuloo

wlthw!

hnvlno

la

m

Il

Inio

tho

priori

moult!“

ol

Il:

m

foot».

Tho

«no

Çplloo

to

Iynnﬁnlon.

Thon

ullod'lwoﬂof

thon

il'illlñm

il

nono

aﬁn!

mon

ﬂlo

'povonr'

Juùln

and

tho

Pronom

parltmlm

rhooo

ao

duoluloly

unlwolrlvo.

Only

by

mina

5mm

lhooo

fdto

eynbolle

argonlwlom

Il:

aooﬂon

boon

ùlo

to

dwolop

Il:

indopondonco.

Tllo

afforlœ

ol

lho

hum

boira

for

hl;

nololbour

Il

o

foin

Iwy

whleli

ha

nova

boon

ocooptod

by

quury

mon,

u

hl:

uffælœ

pnlh

il

ody

Do

bo

for

hlmooll'.

Loxwy

dooo

me

pomll

mm.

"union

llIo

Juùle

-

Chlilon

dblc

connot

oocçl

ﬁls

rofunl

of

marmiton

une.

mlroly

don-op

ﬁnir

ooneqm.

Nolflior

non

lho

noie-donnent“:

nelollou

os

llloy

m

h-od

on

thon

ooneoph.

'l’lul

la

why

only

In

3h.

noollod

nnlvlty

oﬂ‘pqwla“

crooﬂon

l'ail”

moboon

po-îblowllhoul

holnqoui

oifoonplotoly

front

Iocloly.

‘l'llo

mm

of

orodlvo

voilà

ml!

os

Iolonco

and

fil.

en:

ﬁqu

wlgorlnnllon

la

only

ongmvod

lholr

slîudlon

lneldo

il»

polo-dam]:

world.

Harry

nod

achieved

the

ponthoüt's

dreorn--he

was

One

with

the

Univem.

At

least,

he

Ira:

one

with

the

floor

of

the

Coyf.

For

o

moment

that

rudimentary

biob

of

noe-

shewed

above

floor-level,

then

that

too

va:

gone.

l

stood,

stroddled

and

watching

in

fascination.

Wauld

he

continue

ta

slrdt?

If

eo,

mld

het

stop

d

the

centre

of

the

plonet?

Would

he

advance

bockwords

lnto

New

South

Wales?

Apporently

not,

for

that

arrbigouos

outline

stayed

there.

Hod

yau

not

been

awore

of

whot

hod

taken

place,

you

would

:lrrvly

have

tdun

it

for

ground—ln

dlrt,

or

the

result

of

spllled

fat

after

carne

epic

attempt

ta

produce

a

mol.

To

me,

ît

wosnlust

Harry.

l

got

the

message,

oll

rlght,

all

right.

Not

thot

wonted

to

know.

That

ghostly

porridge

air

me

thldtening

around

me;

l

wos

beglnning

te

get

the

feel

of

lt

in

my

throot.

morlednan

ugly

sound,

coming

from

a

tl'l’od

Ilke

Rayrnond's,

even

when

ane

wat

moklng

it

oneeelf.

Thloker

it

carne,

and

thlcker,

and

now

lt

was

upon

me,

writhlng

and

cold

and

51m.!

mtedtm‘tne

neu

woil.

Thirty

pacox

laterl

realised

there

was

na

near

wall,

nothîng

but

fog,

fag,

fog...

Looking

down,

l

could

see

os

for

os

my

chut;

no

more.

The

ground

seemed

os

yet

rteady

underfoot,

but

had

sarnehar/

a

different

feel

to

it.

When

ben?

ta

try

and

obnm

ît,

l

failed

utterly

to

me

anythîng

but

that

ubiquitous

porridge

grey.

Snarling

ogain,

l

sat

down,

wropping

my

arrns

around

me,

groteful

for

once

for

theîr

inordinate

iangth-—the

cold

was

striking

ta

my

bones

alreody.

As

l

did

sa

l

felt

something

flop

put

my

:houlder

înto

the

greyneu,

hootîng

with

eldritch

Iaughter.

'Hoo-hoo.

Hoo-hoo."

“Get

lost."

l

bellowed.

Ever

hoard

of

a

fog

with

ochoes?

"Get

lost,

get

lost,

loot,

get

lost,

lest,

get

lost,

Ion,

lost..

.."

kept

rny

rnooth

shut.

Swivell-think.

Swlvelluthînk.

wa;

beîng

given

the

treatment--the

full

treotment.

Further,

l

had

been

gîve-n

tho

treotment

since

the

moment

l

hod

asked

Harry

the

sixty-four

dollar

question.

Not

a

second

hod

been

lost.

And

Harry

himself

hod

been

unclayed

before

he

could,

give

awoy

a

dicky-bird.

Harry's

position

in

the

garno

could

be

said

to

be

that

of

o

Knight.

l’oJ

don‘t

sacrifice

a

Knîght

for

nowt.

Oi

course,

ît

might

bo

thot

the

Harry

that

wos

naw

One

with

the

brickwork

floor

of

the

Cayf

wos

only

a

durnrny

body,

lîke

to

the

one

l

was

myself

weariing.

But

that

would

reduce

ta

the

me

answer,

becouse

there

had

certainly

been

na

time

for

the

Opponent

ta

do

a

swîtchîng

of

bodies;

if

it

was

a

durnmy,

it

had

been

sont

in

on

the

expectation

of

trouble.

Any

way

you

looked

at

it,

my

every

rnove

had

been

taped.

Now,

hawever

tricky

the

Opponent

might

be,

in

the

final

anolysix,

hl:

powers

nevor

reolly

exceed

those

of

the

Home

Team.

If

he

wos

putting

oll

thîs

attention

on

Your

Humble,

ho

was

by

the

tome

token

taking

it

away

from

soma

other

areo

af

oporotions,

and

wed<ening

hîrnself

to

that

extent.

i

assura

you

that

there

ls

no

mare

coven

or

unblotant

a

fellow

thon

t'ne

Opponentnfor

hîrn

to

throw

hi;

pieces

about

like

thîz

meont

he

was

taking

bîg

chances.

And

thot

meant

either

thot

he

was

damned

(ho.)

wre

he

wos

wlthin

a

rnove

or

two

of

checkrnote,

or

that

l

was

in

soma

way

poxing

ruch

a

threat

to

him

thot

he

Lad

to

thraw

the

bock

at

me

fust

and

heovy.

Yhînk,

Swivei.

lf

ha

were

NEC

of

wînning,

he

would

have

Ieft

me

to

the

last,

and

thon

have

pollshed

me

off

good

and

propen-

sornething

reeklng

of

brirndone

and

molten

molybdenum,

none

of

this

rnoping

and

mowing

in

pea-soup

porridge.

Damn

ît,

he

“admit

be

winninguon

the

contro'y,

he

must

be

in

deadly

danger,

and

throwing

overything

at

me

in

a

sort

of

Antennes

offensive

to

try

and

hide

the

foct.

(Corne

ta

think

of

it,

wasn‘t

the

Ardennes

offensive

launched

in

a

fog,

too?

Um.)

Whotever

l

hod

donc

thot

wos

neodling

hîm,

it

must

be

somethÎng

l

had

startod

in

the

lost

few

heurs.

Xnd,

corne

ta

look

at

it,

it

wos

pretty

obvious

whot

ît

wos.

The

Bonks

girl

and

Maloney

must

be

on

to

something.

Evidently,

l

wos

not

intended

ta

fînd

out

whot

is

wos.

Now

what

arrangement

had

l

mode

with

Mary

Banks?

'Be

bock

here

wlth

Maloney

ot

nîne.“

My

office

wos

în

Greelt

Street.

Raymond's

hairy

wrist

did

not,

ofcourse,

bood

a

watch,

but

l

needed

none-«w

clock,

like

thot

of

the

Hebridean

fishermen,

moves

to

internal

tidet,

and

weors

Old

Mother

Eorth

herself

for

pendulum.

It

wos

not

iust

turned

seven.

(Hell,

must

have

m

in

thix

rnurk.).

Mory

and

Mnloney,

their

precious

clue

with

them,

mu:

nov

be

markan

time

oreaaratory

te

turning

towords

Soho.

Thern-wards

must

l

hie.

But

where

vlan

l

nov.

and

how

did

locale

rnern

ana

get

tram

nonce“!

The

trarrps

of

old-—bofore

the

Welfare

State

ran

them

off

the

rood--used

ta

have

routes

of

their

ovni,

and

coboliltlc

si”

to

W",

guide

and

encourage

their

frotarnlty

merrbers.

lt

is

not

rrruch

other

wlth

their

succesnou.

lf

Mory

and

Maloney

hod

stand

haIf-on-hour

ego

from

Nottlng

Hîll

Gate--ond

l

won

sure

they

hadnwhere

would

they

be

nom?

Lozlm

and

economy

bath

lndicated

o

folrly

strolght

route

along

Westbourne

Grave,

up

post

Boker

Street

and

1o

through

to

the

Euston

Road.

Well,

there

were

only

se

many

ports

of

coll

in

thot

ana.

Ïhe

New

Caicutta?

Toa

expemive.

Tho

Supaburgeﬁ

Cheq:

enough,

but

too

maure

for

Maloney.

Toni'r?

Cloued.

The

Bonne—Bouche?

Too

expansive,

again.

The—-my

God,

but

l

va:

a

fool.

Openlng—tirne

wa:

long

past.

lightning

seloctîon

of

neon-llt

wloom

and

public

bars

rase

in

rny

mind'.

eye,

far

ail

the

world

a:

thath

l

were

drowning

in

Gulnusnand

then

l

had

it.

The

White

Rat

Wlne

Bar,

in

Carnden

Twn.

shat

ta

my

feet.

The

porrldgo-fog

vos

as

thid:

a:

ever,

but

l

paid

lt

ne

heed--|

knew

nom

that

the

Umpire

war

not

nodding,

thot

only

time

or

my

own

stupîduty

could

Qoll

thl:

particular

Garne

for

rne.

For

a:

the

words

carne

to

rny

lipa

rrry

hand

was

cloelng

round

the

bulge

fonned

in

rny

pack-t

by

the

heavy

corkscrew

that

vos

port

of

my

înuporable

personal

equipment.

lt

won

a

drag

transferrîng

thot

heovy

walnut-hondled

thing

tram

suit

to

wit

of

my

voriws

bodîes;

more

thon

once

l

hod

been

terrpted

of

late

to

change

it

for

ana

of

theee

tlny

mochrn

domination:

thd

open:

o

bottlo

with

two

thln

metol

bladee.

l

reoliud

nom

the

meanlng

of

theword

Providence-4l

vos

with

thh

corkscrew

thot

l

had

opened

a

bottle

in

the

White

Rot

not

No

weeks

ego;

hi:

cakscrew,

and

ne

other,

therefore,

vos

my

nepping-stone

from

here

to

there.

Carofully

l

laid

it

dovm

on

the

groundnor

whetever

it

vos!

hod

underfoot

in

this

fovl

placenplacing

the

toe

of

on.

foot

ovor

it

to

keep

it

located.

My

honds

started

lnto

the

neceaay

pattern

of

panel,

rny

heod

lifted,

mouth

and

L

à—_—————

'àomerne,

Medoc,

or

a

tune

Whlte

thot

vos

nurtured

by

the

Rhlne;

Wood

that's

ald

and

trve

and

worn,

Fit

for

the

drird:

it

àth

adorn;

Flome

et

cool—fin

wa'm

and

red

To

wm

the

qulck

and

eke

the

deod;

Corlucrewuheld.

enouah

18v.

sold,

'Whlte

flotll

cm--peo-ooup,

ùop

dead.‘

And

there

l

w,

in

rrry

germaine

Swivel—type

body,

standing

at

the

bu,

orderlng

o

double-brandy.

XXXIXXXXXXXX

'Ho‘w

de

you

buy

Killorneﬂ‘I

Mnry

hummed

lnto

her

glaxs.

Maloney

grunted.

"Go

into

the

bock

woy

ot

Rafferty‘s,

osk

for

O'Sheo,

and

put

the

green

stuff

înto

hi:

hand.

Drink

up,

will

you?"

Mory

turned

her

glass

upside

down.

"S'errtaty/l

she

onnounced

aolomnly.

Maloney

pushed

on

enormous

zooty

finger

înto

rny

rlbs.

“The

lady

sayx

lt's

your

round."

'But

l

bought

the

laxt

round.“

"You'li

buy

the

then.

"Tis

grateful

you

should

be

for

the

chance

of

treating

Maloney."

"And

a

Bonke.“

Mary

cost

me

a

glonce

of

alooholic

reprooch;

her

lip

quivered—-"o|l

right,

aIl

right,

you

needn't

screorn.

The

lame

ogafn,

l

presume.

Moloney,

would

you

cote

to

give

me

a

hond

wlth

this

lot?"

Wc

mode

our

way

op

the

three

sth

past

the

crackling

iire

üp

înto

the

Long

Bar.

There

was

no-one

thero

at

oll

:ave

the

bamon,

and

only

a

quiet

middle-aged

couple

occupyîng

the

polished

took

partitions

behind.

Gieaming

brosses

winked

in

tho

fîrelight;

frorn

overheod,

mm

of

barrelr

oost

o

gentle

Ihade.

A:

the

barman

busied

hirnself

wlth

our

arder,

l

turned

ta

the

hulking

figure

beside

me.

“This

l:

all

very

entertaînîng,

and

don't

think

thot

gru

e

the

tirne

or

don't

reciate

c

n

.

t

llfe

ls

short,

things

are

happening,

and

nostîer

thing:

will

hqaper‘iigyet

lfl

MIN

Qet

the

m."

ma

Bu

'iwo

grilles

chrk

ayez

gozed

lrlo

mine.

Black

dün

or

no,

Maloney

wos

a

tme

chlld

of

hi:

race.

'What

gen

would

tbot

be,

then?‘

'Sornething

that

would

wut

the

Devil

hlmself.

And

did.

And

It's

eornething

that

Mary

and

you

corne

acres

thi:

very

afternoon.‘

Well

new,

well

nom.

.

."

The

barman

was

setting

the

glose:

dewn;

Malone)’:

become

instantly

ioct

In

thot

vost

paw.

'We

did

corne

across

a

few

things,

to

be

sure.

But

which

would

be

the

one

yau‘re

aftef'?

H'rn..

.‘twould

be

xomething

powerfully

valuable,

I'm

thinking?"

ipoused

on

my

way

bock

to

the

seot,

a

glass

in

eoch

hand.

'Is

it

thot

you're

after

hining

me

for

more

Iollﬁ'

murrnured,

in

my

heavlest

Charing

Cross

brome.

He

gave

me

a

look

of

pained

mrprile,

a

sîghnond

o

wirdt.

Reliwed,

l

tendered

Mary's

glass

lnto

her

eager

hand.

“Tell

me,

glrlie--do

mknom

whot

lt

was

you

fovnd

out

thîx

afternoon

that

upset

the

opplecart?"

"Saftornoon?

Show

lot:

of

peaple.

Funny

people.

No

mlecortl,

llke.

Lots

op

pointings

and

staff

in

Portobello.

Daod

fvmy,

they

wos.

Antiqu—ontluxelling

ol'

lunk.

[on

know.‘

She

waved

her

glas

illustratively;

Molaney

grdäbed

at

ît

in

holy

horror.

'Don't

waxte

the

stuff,

then.‘

He

turned

hl:

attention

bock

ta

me.

“How

valuoble

would

thin

infor-

mation

be?“

l

ceuld

have

pointed

out

thot

if

l

didn't

deod

tho

dope

we'd

ali

be

dead,

or

worse.

But

l

forebore;

wnething

told

me

thot

rny

conpanîon

wauld

comîder

me

to

be

:poiiing

o

good

business

transaction

by

introducing

quîte

oxtraneous

considerotions.

lnsteod,

took

out

rny

wallet

and

started

to

àop

fivers

orio

the

table.

After

the

fourth

hod

flooted

dawn

under

hi:

reflectiÿe

eye,

l

soid

palitely,

"You

will

tell

me

when

ta

stop,

won't

you?‘

'Seven

is

a

fine

number,

now,“

he

sald

thoughtfully.

'Seventy-uven.“--this

frorn

Mary,

Iooking

pap-eyed

at

all

thi:

condemd

porchotlng—power.

“Ow.”

as

l

groond

my

heel

down

onto

her

irutep.

Soma

people

forget

that

an

exponn

account

is

a

funetîonal

thing,

net

a

gîft

from

Heoven.

'There

were

the

seven

sans

ai

MeCorthy,"

the

dark

fellow

w:

rnurmurîng

“and

the

Soven

Sorrowoof

Our

Lady."

Hi;

fane

grew

brighter.

“Thon

there's

the

Savon

Stan,

in

Actonnyou

thould

ne

the

barmaid

there,

young

Elleen.

They

l

__.

Ihoved

the

money

into

hl;

pocket,

and

put

owoy

the

wollet.

'The

focts,

Moloneyuthajnçn.“

mu

owore

'

x

‘

u

|

\

eofer

Jopon‘

Taday

un

do

nat,

perhq):

Nuits

to

the

Fauves,

experienco

an

arbltmry

amamon

ar

local

calour

a:

violent

distortion

roallty,

bot

an

arbîtrary

dîstortlon

oî

a

reallrtlc

outline

is

still

able

ta

twist

our

sensibilities

painfully.

But,

as

Gonbrîch

alla

point:

out,

the

treatmant

ai

calour

ha:

always

been

les:

rational

and

les:

restrictod

thon

the

treatrnent

af

lina,

possibly

beewse

our

ernotional

exporilnce

af

colour

tap:

deeper,

le”

conscious

levals

of

our

mînd.

For

this

very

reman

tha

irruﬁonal

revolutlonof

the

Ilna

stlll

balangs

totlie

futureand

awaits

îuller

exploitation.

alraady

spokeaî

Daumierwhosesingnificanca

for

conterrpararyart

Î:

anly

iusf

being

realized.

Farhaps

Matiueand

also

Dubut'ïet

in

their

earliar

less

manneled

work

gropod

for

tha

lama

intangible

Freedam

ai

llne.

lt

is

sad

and

highly

significant

that

Dubuttet's

mare

inspired

art

had

boen

called

thl

'u't

brut",

a

word

that

calls

ta

mlnd

the

wild

beasts

af

the

"Fauves".

Wl'rat

we

may

have

ta

look

far

is

a

new

freedom

af

lin.

untaintad

by

tl’lo

tullng

ai

vlolence

and

brutlshneu.

This

may

only

lucarne

possible

if

tho

urge

for

finding

truc

equlvalencos

becamas

me

gamine

and

carrpulsiva,

withaut

aven

a

thought

for

aethetic

niveties.

ln

our

mphisticated

age

w.

may

findsuch

a

nalvadinct

urge

tawardsrepresentatian

only

in

tire

populat

an

af

lavatarydrawing

which

i:

inspier

by

tho

nrongest

human

drive

towards

an

abîect,

the

sexual

instinct.

Anather

equally

patent

instinct

is

the

instinct

l'or

self—

praservatian

and

hunger.

Are

we

perhaps

entîtled

ta

explaîn

part

al

the

miracle

ai

prehistoric

cava

painting,

its

incredible

frudam

and

wreneu

of

line,

from

this

underlying

drive?

Tire

iear

oF

the

ﬂone-age

hunrers

was

grave

enough.

It

is

raid

tint

tbair

wall

d'awîng

served

wrrpthetîc

magîc

to

încrease

the

fertility

at

thelr

game

animal:

in

times

oï

rcarcity.

Aesthtetic

camlderutiammst

have

played

a

verysrnall

part

andthere

îs

indead

a

"mets"

in

tha

wayin

whîch

the

àawingsare

scattered

along

tire

walls

and

superlmposed

withaut

pattern.

Sir

Herbert

Rend

contrasts

their

principle

ni

untamed

"vitality"

against

the

"natuer

gearnetrlclty

ef

the

Iater

new

stone

age.

Tl‘w

old

vitality

or

at

lacs!

its

shadow

marges

whenever

the

hold

cf

a

rlgld

aeathetlc

was

tenpnrarlly

broken.

Sir

Hubert

rediscovers

the

lost

vîtality

oF

cave

drawings

in

the

short

tramitianal

parlod

în

Greek

vase

painting

when

neolîthic

geometricity

begon

to

give

way

ot

Iast.

Thon

strangely

dîstorted

animal

torrns

oxtond

themulm

botween

the

remnants

ot

geometric

ornament.

Nobody,

to

my

knawledge,

ha:

yet

tried

to

explaîn

thc

endurant

lino:

et

thon

animal

toma:

îrom

obscure

style

influences,

say,

Sibirian

sculpture.

There

is

a

parallel

and

even

metramîont

interlude

in

the

hls‘tary

afold

Egyptianart

where

chŒicn'urE-like

vltalîty

înterrupted

a

millenia-oldtradition.

an

refonan

to

Akhnatcn's

realistîc

art

which

for

our

eyes

bordels

on

unmitigated

caricature.

ls

is

inconcievable

that

tire

court

artlﬂs

shauldhave

dared

ta

dinon

intantianally

the

factures

ai

their

gooling.

Art

historlans

did

their

duty

and

tried

ta

axplaln

this

caricature

style

tram

Foreign,

preferably

Creton,

influences.

This

ta

rny

mind

is

nonsense.

Only

acamplelely

nalve

ponton-"y

could

have

given

the

artist

the

courage

to

their

distoniom.

Nor

is

such

spontaneity

teachable

and

open

ta

a

long

Iine

ot’

tradition;

hence

also

the

tragilîty

and

tramience

of

suctr

artistic

epochs.

Tha

freedom

of

lin:

achieved

in

Greek

art

snmed

to

have

lingored

an

For

sarne

tîme.

Greek

pointing

apart

tram

vase

painting

is

lost.

But

ta

iudge

tram

the

unparalalledllghtnon

al

touchwith

whîchthe

Greek

sculpter;

carved

theirstane

draperies,

we

can

sunnise

tire

same

liglrtnus

In

thelr

palntlng.

Waht

we

passe“

af

early

Hellenîsﬁc

mural:

stîll

retains

a

maasure

ai

wch

freedom.

The

mural

et

Mous

in

the

Mesopatamian

synagogue

ai

Dura

Europe;

ha:

amowîng

drapery

of

unfarced

spantaneity

Lever

since

equalled

in

aur

art.

Pertan

the

early

ramonasque

mural:

and

the

provincial

Bysantino

paintings

in

Jugaslavia

and

Crate

still

have

soma

ot

the

old

grace

and

vîgour

untîl

in

the

Won

at

leost

the

classical

tradition

was

Fînally

braken

by

the

Renaissanceﬂhîs

soumis

Ilka

a

paradox,

but

on

"Élection

It

il

underûandable

that

a

self-conscious

imitation

of

antiquîty

in

bound

ta

destroy

its

arlglnal

Inoanlnq)

l

nal

thlrk

that

wo

can

plck

up

the

tiveods.

Only

a

rwrgenca

a!

nuly

pogrom

vl'gnfyl

a

ggmïn.

hum"

f°r

tl’n

ablect

wltlnut

a

single

thought

Far

îtz

amhetic

value,

moy

be

abla

to

bolp

us.

That

why

papular

wall

drawîngs

and

«vovmgs

are

noarar

ta

succosr.

Tire

Scandinavlan

lnstltuto

for

CorWlw

Vatdalirn

faund

very

ald

engravings

that

mmïrngîïwallzaf

ï'or'rnandy

cürcllwsl.

It

îs

mange

ta

final

among

them

:ngravings

of

deer

that

in

tir.

strange

ﬂmh"

mh

l

cm

a?"

"2;

Æ“

cm;

:h'P

'"Îlooïl_ace.unobselïved

.among

tbe

no

much

alder

prehîstaric

cave

dlle

wi"

cm

("à

son“

h

:1"

î‘l

{90‘

IGC’

l"

a"

Wlll

Ihll

have

togrow

far

qurte

a

whlle

until

agreat

artilt

'omo

P

ha

.

e

ap

y:

ca

iongmg

or

transcendent

reallty

rnay

prove

as

patent

as

the

naive

erotlcism

ot'

ry

a

er

ps

a

rnrxure_ot

the

sybllme

and

the

emdely

yexual

may

do

the

trick.

Wha

î:

reolly

ina

position

no

præhesy

(bout

future

art

and

Its

secret

course?

All

wbat

l

have

don.

was

to

vaico

own

grawing

l'runger

for

a

nat

yet

existîng

l'onn

ot

art

a

langîng

that

i:

made

only

border

to

beur

wlren

lt

'

hed

b

tire

Dbmuc'

un.

Is

mac

empty

postunng

cf

avr

prmﬂt

45.).

Rossîe,

Scorlond

Ÿ

L

ANALYSE!

0P

INTERLACED-WORK.

WITH

THÉ

Il’CALlTlES—Conlinu8d.

le.

805.4pndn]

bnuuded

by

ont

convu

lml

lwo

conçu-a

dmlu

nm.

ﬁllnl

in

mlh

modiﬁcation

o!

Nm

5037

Canna.

Nu.

808.—The

urne

us

Nu.

SOI,

bu!

wuh

lhn

ring‘

inerch

dlrfertmly.

Brmny.

Two

Sîchord

knots

on

the

top

of

each

ofher,

285.

Scotlond

rî)

r;

2.6,

l

cave

clrculnr

un.

ﬁllcd

in

plan

drru

If

Ring

And

with

(ho

un“

Illcln

No.

c-r-

nlu

la;

hui.“

lu

ex-

795.

but

Iilh

round

Du;

lanor

Loup,

dhlorud.

bolh

mule

ol‘

bar-talw-

shnpn.

mlalurl‘

l

Brœæy.

Bmy.

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Ont

288

No.

“dl—S‘IL:

bounded

hy

ono

cornu

1nd

‘hm

con-

No.

809.4Jnce

bounded

l‘y

lhm

mnmve

circulnr

nu

ul'intcrhcalmork

Mnxpom-d

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ono

of

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l

pointa!

nul.

lhlmn

r“

Cndbol1(Z

and

double

(lino

aymbol).

Scoîl.

Englund,

(Porto)

olo

in

Istric

(9th.

cenf.)

(a.d.

795-816)

'

No.

SOI—8|“

ol

urne

ﬂnpe

Il

la

lllnd

la

with

l

37‘

/‘>Û\

.506

.

Merovingicn

France

308.

ingon-l

stmigh

îinr.

wixh

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Scotl.

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(/îh.

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2:;

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ÿ

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h

4

WI'M:

rai-m

L’ASTRONOME

KOZVREV

CHÉE

LA

MÉCANIQUE

CAUSALE.

Une

broctture

editee

a

cinq

conta

exemplaires

seulement

par

l‘Aca-

démie

des

Sciences

de

l'U.R.S.S..

et

passée

presque

inaperçue

lore

de

se

parution.

est

en

train

de

bouleverser

l‘opinion

scientiﬁque

mondiale.

Certains

le

comparent

Mie

a

la

premiare

publication

par

Einatein

de

la

tireoria

de

la

relatir

vite

reatreinte

en

1905.

D'autres.

et

ceci

en

U.R.S.S.

meme.

ne

se

peth

pas

pour

parler

d'-

imagi.

nation

délirante

n.

Le

brochure

on

question

est

l‘œuvre

de

l‘astronome

Nioolaï

Alexandrovitcn

Kozyrev.

qui

a

récemment

découvert

un

pilier

de

llammea

sur

la

Lune

et

a

qui

l'on

doit

précédemment

des

travaux

importants

sur

les

auroree

boréales

observées

sur

la

planeta

Venus.

Yempa

+

et

tempe

Kozyrev

commence

la

ou

Einatein

s'est

arrête:

il

est

impossible

d'exposer

ngnureuaemant

sel

idées

sent

malhématiquea.

Je

ferai

de

mon

mieux.

On

a

généralement

admis

que

l'intervalle

entre

deux

objets

dam

le

temps

peut

au

mesurer

par

un

nombre

positif

ou

négatil.

C'est

ainsi

qu'au

milieu

d'un

mois

de

30

jours.

15

jours

avec

la

eigne

moine

nous

:eparent

de

la

lin

du

moia

procédant

et

15

jour:

avec

le

plus

nous

uperent

du

debut

du

mais

prochain.

Dans

la

tneorie

d'Einstein

on

place

ce:

nombres

le

long

d'une

4'

dimension

de

l'univers.

ll

a'agit

toujours

de

nombres.

sauf

qu'ila

sont

parue

la

long

de

l'axe

imaginaire

dee

mathemeric

na.

Dena

le

tbeoria

de

Koxyrev.

n

revanc

'

valle

dans

la

temps

ne

plus

par

un

nombre

ma

par

une

de

ces

entitea

mathématiques

que

l'on

appelle

un

u

pseudœtenaeurn.

Autrement

dit.

un

intervalle

du

pane

n'est

pas

égal

a

un

inter-

valle

de

l'avenir,

pu

plus

qu‘un

poisson

n'est

egel

a

une

pomme.

Cette

nouvelle

formulation

mathe-

mattque

permet

de

reviaer

toute

la

science.

Dans

le

science

moderne.

le

passé

était

équivalant

a

l'avenir.

et

on

pouvait

inverser

le

ﬁlm

du

temps.

Et.

pourtant.

l'expérience

aussi

bien

que

notre

sens

interne

du

temps

nous

disaient

bien

qu'il

est

impossible

de

voyager

dans

la

passe

et

que

celui-ci

n'est

pas

equtvalent

a

l'avenir.

Dans

lr

nouvel

univers

que

noua

présent

Kozvrev.

il

existe

automati-

quement

un

sont

du

temp!

u

passe

vers

l'avenir.

Dans

la

théorie

de

Kozylev.

le

flot

du

temps

n'eat

pas

une

image.

mais

une

force

capable

d'etre

mesurée

et

meme

d

exercer

un

travail.

Dans

toutes

les

mécaniquea:

Newton

Etnstoin.

et

poat-Einltein.

laClIDn

est

egala

a

la

reaction,

mûri/lev

aussr.

mais.

chez

lui

la

réaction

ne

répond

pas

mstanranemcnt

a

tact-on

Elle

v

reoond

a

une

vitesse

firuè.

qui

peut

ctrc

calculée.

Il

sensuit

que

deni

l"unrv'era

de

Koryrev

on

peut

dietinguer

automatiquement

le

cause

de

l'etfet.

Aussi.

la

nouvelle

science

qu'il

a

credo

t‘appelle-belle

la

mecanique

cauaale.

En

mécanique

canule.

la

non—conaervation

de

la

apparaît

automatiquement.

il

n'y

a

pas

de

principe

d‘incertitude.

la

relativité

l‘harmonica

avec

lea

quanta.

l'action

sa

distingue

mecaniquemant

de

la

réaction.

la

cause

de

l';tfet.

Lea

vlriﬁoatione

expérimentales

La

mécanique

cauaale

eal

suscep—

tible

de

vériﬁcations

expert-

mentales.

Sur

un

corpa

en

rotation.

l'existence

de

la

moca-

nique

causale.

du

retard

de

la

réaction

aur

l'action.

produit

des

forces

nouvelles.

Ce

sont

cet

forces

qui

donnent

a

le

Terre

larme

de

cardioide.

déterminée

par

les

mesure:

sur

les

utellites

artiﬁciels.

et

qui

correspond

d'une

‘acon

num’

:ue

parfaite

aux

pro.

sions

.mulees

par

Kozyrev

il

a

cinq

ans.

Les

déformations

des

planer-x

Jupiter

et

Saturne

carres-

ponde.

tgalernant

d'une

façon

c

.Ititative

aux

prevtaions

de

la

tMoria

de

Kozyrev.

L'accrois-

S.nent

de

la

pesanteur

dans

l'Arctique.

récemment

mesurée

par

les

Russes

et

les

Amaricains,

se

ded'ut

également

des

équations

de

Kotyrev.

D'autres

coma.

quences

restent

a

vérifier

par

l'expenenca

compris

la

plus

extraordinaire

d'entre

elles,

la

possibilite

de

tirer

rte

l'énergie

du

flux

temporel.

'

NICOL“

92

ALEXANÜROVIÏCH

KOZYlfl

ASGIR

Ulllr

JOM

Le

problème

de

lo

causalité

est

un

faux

problème

imposé

pot

la

science

faussée,

la

science

qui

veut

prévoir.

je

peux

pénétrer

dans

le

passé

avec

une

exactitude

déterminée

par

l‘échelle

causale.

le

suis

le

résultat.

la

synthèse

créative

de

mes

deux

parents,

comme

eux

le

sont

de

leur!

parents.

Ceci

fait

que

j'ai

quatre

grands-parents,

huit

orrièrcwgrondæporents.

et

ainsi

de

suite.

Vingt

générations

en

arrière

j'ouroi

exactement

un

million

quarante-huit

mille

cinq

cent

soixante-

seize

parents.

Ce

doit

être

environ

le

XV'

siècle.

Mms

le

malheur

est

que

la

scimcc

veut

établir

des

arbres

généalogiques.

Si

l'on

choisrt

par

has::rd

un

de

ces

ancêtres

on

tombe

tout

de

suite

sur

ce

que

Sortre

appelle

le

pluralisme.

dans

ce

cas

de

parenté.

ll

a

une

confusion

indescriptible

d'enfants

et

de

fausses

couches,

d'infidélitc‘s

et

de

stérilités,

et

pourtant

ce

n'est

rien.

Pour

arriver

l'image

do

parents

que

j'ai

on

commun

avec

des

individus

vivants

OulCurd'hui.

sur

la

base

de

nos

ancêtres

en

l450

il

fout

dresser

l.048.576

Gibus

généalogiques.

Quelle

jungle.

Lo

description

causale

ne

relève

qu'un

seul

aspect

d'un

développement

:

ces

éléments

nécessaires

ou

économiques.

L'erreur

commise

est

de

considérer

ces

liens

en

même

temps

comme

suffisant:

pour

ce

développement.

et

tout

le

reste

comme

inutlilté

qut

dort

être

ignorée.

De

l'autre

coté,

il

est

aussi

idiot

de

nier

tous

les

rapports

cousoux.

Sous

le

prétexte

qu'il

y

o

outre

chose

que

ça.

ll

serait

mieux

de

placer

lu

causal-té

comme

une

échelle

particulière

de

l'optioue

de

l'homme

sur

lu

matière.

Ce

qui

pour

moi

donne

o

Soren

Kierkegoard

la

première

place

dans

l'établissemeni

d'une

philo”.

phie

artistique.

c‘est

qu'il

o

comblé

l'abîme

entre

lc

hasard

pur

et

lu

causalité

pure

en

insistant

sur

le

caractère

spécifique

des

relations

occasionnelles.

en

les

opposant

nettement

lo

causalité.

Ainsi

Kierkegoord

est

le

fondateur

d'une

renaissance

de

lo

pensée

magique.

sur

une

base

scienti-

f'quement

descriptible.

Ses

observations

sur

l'introduction

et

lo

particularité

de

l'occeaiennel

en

tant

qu'egent

de

présence

auraient

en

réalité

dû

rendre

inutile

tout

ce

travail.

il

en

aurait

été

oinsi

si

Kierkegoard

personnellement

n'avait

pas

été

assez

làChe

pour

refuser

lui—même

de

témoigner

dc

ses

propres

vérités.I

s'il

n'avait

pas

employé

toute

so

vie

minimiser

et

effacer

ces

découvertes

de

base.

Ceci

n'exclut

pourtant

pas

que

ce

qui

est

dit

est

dit.

Ce

que

j'ai

fait

ici.

c'est

remplacer

l'

a

o

priori

a

de

la

causalité.

non

par

celui

du

hasard

pur,

mais

par

une

contrariété

des

deux

a

o

priori

a,

comme

les

deux

points

zéro

franchir

par

l'acti-

vité

de

l'homme.

Ces

deux

contraires

ont

dans

la

philosophie

physrque

été

liés

des

conceptions

atomiques

partagées

en

phénomènes

microcosmiques.

Phénomènes

l'intérieur

de

l'atome

et

entre

peu

d'atomes;

cependant

que

les

mono-phénomènes

englobent

des

grands

ensembles

d'atomes.

jusqu'à

maintenant

on

o

refusé

d'étudier

si

cette

distinction

n'était

pas

trop

spéciale.

si

elle

n'expliquoit

pas

aussi

en

général

le

comportement

l'intérieur

ou

entre

de

plus

grandes

nuitée.

dans

des

cos

de

petits

et

de

grands

nombres.

Les

expériences

avec

des

billes

le

prouvent.

Elles

ne

sont

pas

des

atomes.

Ainsi

l'idée

du

micra-

et

du

mocro—cosmos

n'est

qu'une

question

de

propor-

tlons

relatives,

Le

fait

que

nous

sommes

capables

d'établir

une

causalité

veut

dire

que

la

causalité

ou

la

fonc-

ﬁmnalité

universelle

n'est

pas

complète.

Un

lien

causal

comme

rntre

moi

et

mes

parents

est

une

connaissance

qui,

dans

le

cas

où

je

décide

d'avoir

des

descendants.

peut

se

projeter

aussi

dons

le

futur.

C'est

une

loi

qui

prévoit

par

nécessité.

Mois

ce

qui

est

important.

c'est

que

dans

ce

cas

il

n'y

ouro

pas

de

suite

sons

mon

intervention.

La

couae

est

un

effet

qui

le

transforme

en

ceuae

par

un

autre

effet

qu'il

provoque

néceeaeirament.

La

fécondation

artificielle

est

une

tentative

pour

tfdulre.

par

économisation,

un

octe

la

relation

nécessaire

de

couse

effet

ou

plutôt

d'effet

en

couse.

On

voit

que

les

idées

causales

sont

faussée;

parce

qu'il

peut

avoir

des

effets

sans

cause.

mois

jamais

des

causes

qui

ne

sont

pas

produites

par

un

effet.

L'effet

précède

toujours

Io

cause.

C'est

expérimental.

C’est

la

dialectique

renversée.

L'e‘fet

est

l'unique

synthèse

qui

existe.

Ainsi

la

phénoménologie.

qui

est

l'origine

de

l'hypothèse

de

l'univers

en

dispersion.

n'est

qu'une

juste

observation

de

ce

que

lo

synthèse

est

l'origine

des

choses.

et

c‘est

celle-cl

qui

se

divise

en

contraires,

thèse

ct

antithèse.

entre

lesquelles

il

n'y

o

pos

de

lien

causal,

de

préséance.

mais

coexistence,

corrélation.

ou

plus

précisément

concomitance.

L'effet

d'tÎne

pierre

e

jetée

dans

l'eau

provoque

une

corrélation

ondu-

latoire.

Les

phénoménologues

l'ignorent,

et

les

dlolecticiens

ignorent

l'effet

immédiat

de

la

pierre.

Mais

tout

ceci

opportiEnt

un

domaine

qui

nous

dépasse.

Ce

qui

nous

intéresse

ce

sont

des

cor-

rélations

illusoires

et

partielles,

inconnues.

Le

grand

rôle

des

surréalistes

fut

d'insister

sur

la

nécessité

des

corrélations

illusoires,

déjà

décou-

verte

por

Rimbaud.

la

nécessité

des

orts

pour

la

présence

de

ce

que

l'on

appelle

l'homme.

Son

existence

dépend

de

sa

capacité

de

dépasser

ses

causes

avec

ses

effets.

Tire

French

Magazine

Plonete

no.

7published

rite

following

Iines

onthe

recent

discovery

of

tire

Russ‘on

Nicoloi‘AIexandrovltch

Kozyrev.

We

feel

on

obligation

to

remind

out

teaders

o?

the

essaye

written

in

l958

by

Asger

0qu

Jorn

in

"Pour

la

formd'.

We

only

show—nue

one

of

these

remarcobie

ports

where

Jorn

severol

yeors

oheod

oi

Kozyrev

exploines

us

the

necessory.

In

Jorna

recent

bock

(1962)

"Nuturens

Orden"

(S.l.C.V.)

he

goes

even

more

deepiy

into

lite

problem,

and

well

consîdering

Îi

not

only

from

o

scientific

and

sementic

point

oi

view

but

too

from

o

deepiy

studîcd

aestheticol

one.

uddanly

af

a

IIIphI

bu!

pnrcapﬂhlo

chlll

In

Iha

air;

glanclna

mund,

l

naIîcod

IInI

chuvful

ﬁn

was

dyîng

IasI

on

us.

And

Ilnn

was

ang

alu,

unan

I

cauIdn'I

au".

place.

.."Gulal:,

yw

blg

m.»

larron-m

havan'I

lima

la

won.”

I’Ie

noddnd.

lea

Iha

un

crodII--II

yau

gava

Mm

Ilua

cash,

hn'd

nldaln

hold

ouI

on

yau.

Ha

Innnad

Iowards

ma,

In

Ihd

paoulîu‘ly

saanIIvn

way

Illa

Irllh

lava

wlnn

Iluay

whh

I0

pas

anan

IIam

cf

IM.

I

mac

Il

you

wara

nan-

dlœ

wIIlI

ana

of

Ilnm

In

Iln

mlddlo

ai

Salllbury

Plaln,

ho'd

dlll

whlqur

InIo

ynw

aur.

'lI's

Ilw

Wlnpay

Bar

In

NaIIIng

HIII

GaIn.”

EvarymndlnIanhIIaMcuI

nul

daad.

A

InIlnnnoncand,

I

nullitde

IIviasIhd

hadhubladmawlnnl

lu

laaludaraund.

‘l'lnrawalwa

dacnIa‘*

Iln

plaça;

cor

Idtln

was

mode

bman

Ihanl.

Wlllla

un

w.

Ialklna,

all

Il.

oIlm

InlIdeIanh

cf

Il»

place

had

radially

baan

sIIIlIIng

poumon

In

uch

a

way

IIIaI

a

slnàla

va

af

Inca—dam

II,

Ihm

hadn'I

ban

du”.

half—ap

d’un

Inca

WIIOII

n

cana

In.--sd

a:

ﬂood

bdwun

mlva:

and

oIIlm

oxII.

Al!

cf

Il)":

umd

du",

atdInary

paapla,

aIl

cf

Ibammalman

Maudy

Iaaltlœ

amy

nain

us—andII-Idal

affuI

mnilnrasllwçh

ana

wddanly

In

ﬂnd

anuall

In

Iln

nlldda

af

Madano

Taluud's

d

mldnlglII,

md

kmlna

Ihd

Illa

«armada

won

waIIino

Far

your

naxI

m.

II

colda

by

Ils.

ncand,

mon

sllenl

UIII,

aald

and

allant,

aald

and—

'SIap

II.‘

laid

a

vole.

dnvaIyumy

valu.

l

wal

on

nly

foot,

dwvlng

Malonay

In

fmm

al

ma

and

&agglng

Mary

char.

W0

w.

flvn

fut

non

Iran:

Iha

nana

axII.

RIdII

bafan

us,

koala

In

us,

IIaod

a

couple

of

aldaly

ladIa

haldîœ

la,

glau—

oî

lad

wIna

and

mrlna

dm

han

cf

Inc

kIndl

always

associé”

MIh

"and

FesIIvals.

Malanay

mada

Io

daﬁa

round

Ilnm.

NM

a

quIvat,

naI

o

nound.

I'In

cloaer

hl:

IhnaIua

nain

thclIl

have

knawn,

wlun

mad-

in

crawdnd

bal,

Ia

nia

mon

ml.

baud

far

Ill-

mat

dnar,

anIlcipaIIng

an

aarII'qudu.

îlna

mnblo

rollad

InIo

Illa

sIIanca,

and

dlod.

II

un;

naI

Illa

IIma

Io

warry

saclal

nIcnIlas.

l

Ilwwd

Malanay

un

all

Illn

force

I

:wld

va

lnIa

Iny

apnn

llanù,

lwrlod

Maryaﬁr

lllm,

and

myulf

dia!

bu.

Wlnn

plachad;

hé!

M

dm

lavant.

A

poll

:nqapad

In

Iha

fnnnnalr;

nana.

:lrîllod,

mon

avaakod,

Inclus

l'un

wy

faca.

Tac

latin-far

ne

wara

falllna

aIap

of

Quel!

oIllnr

Ilawdl

Illn

apnnlna

dur,

dld

Il.

namrIng

mord

Candln

Tavm'l

Irdﬂc

“bd

arwnd

un.

May

fall

aoaInl

ma,

lulf-falrﬂœ,

l‘aca

clnIk-wllIIa.

'DId

700...?"

'Yu.

I

nm

II.

N°9

In

“m'y—lut

a

Shplœ.‘

Malomyhndmnlnaa;

InvasaI

Ihocorb,

wavlna

fmûlcallyfaro

ada.

Ont

mm,

dooénpanlna

andhly—aueh

Iaa

amalhly.

landellndIIloaIllnbads.

'NaIIlia

ﬂdedl,

WaIsan,

naIIlnueand,

naIIlnIhIrd,

bu!

Ilnfaunh.‘

Tha

char

Ilmd

vlcîwdy;

a:

Ill

ùlvc

lwnclnd

M

Ill-

whnl

un

oauld

ne

Il»

aff-yallaw

fanas

ahuran

aI

Iha

canin

cf

hl:

IaI-nw

mh.

Wa

gaI

IhaI

faunll

ad:

a

lIIIIa

0°th

cf

Name

Gascon.

Mary

was

dlll

Mina,

and

aven

Malanay

Vlan

unv-

ually

quIaI.

I

dIùI'I

blnnn

Ilnm;

l

aulne

In

ny

nlnd'z

ûIII

VIN-Ith

war-

uoIna;

Iba

vIzIon

ai

Illan

ày,

bany

dwllnld

bd

vlnnndaI

un

undar

m.

IIraw

lnIg

aI

Iha

'WlIIIn

RaI.‘

KIKIXXXXXXXX

'Tllo

wl

cf

un

Is'

dnnd—I

fanl

Il»

bdlœ

cf

Id:

vlan.

Et—Jna

and

Moral

saunas.”

îlla

waIInu

MM

away.

l

mndnrodlwaualy

If

du

luman,

and

mua

II

wal

pa-Iblo

Io

dllînguilh

Iln

daod

ﬂan

Ilnîundaad

Item

a

ICI-MI“.

Un!”

pamalﬂanv-cw

cum.

My

ald

Il”!

mal-r

and

Ia

vain

agalnd

II.

“How

rlghI

In

mu.“

'WID

w.

wllaﬂ'

duel

Malanay,

frein

cens

Iho

Iùla.

'My

ald

math—4h,

nova!

nIInd.

Tha

Il!an

la,

ulnaI

do

va

M“

88

Ha

anIIod

an

unlnlpful

bled:

malle.

l

hIm

me

clml

m"

b.

Dm

la”

on

un“?!

md

y

Ma

amy,

Iaka

yvur

pan

off

IlIaI

gîtl

km.

Con

I

"Thn

mon

7.0500

Io

aniay

II,

Ihan.‘

Hawmr,

ha

mnI

no

far

al

Io

brî

Ihn

mlnî

nand

înIo

:I

H

on

Iln

I

Iap.

Ha

wwld

nmr

hava

aùnlﬂad

Il,

buI

aur

mon

wuîancu

had

obvîomlçgshaknn

lui:

No

doubI

l:

ûIII

maux".

ma

a

nul,

la»

ha

had

Ia

aùnlI

Il.

IMngI

I

vos

IIWIng

agalnn

dId

acIualIy

oxin,

and

could

mon

a

chIII

InIa

Il:

:IquI

hum,

mon.

fram

Km;i

"len

:1:

Ilw

magna

plan

naw?"

'

I

mouro's

ml

la

a

la

Wa

should

du

nanthI

abouI

IhaI

W

“u

M‘a

W"!

“eh.-

ng

Inpy

Bar—la»

I

havan

I

a

clua

whaI.

Paillon

Tlny

dldn'l.

They

M7,

and

Il»

Iaa

was

Iukwam.

l

callld

ouI

for

IIu

“In-au

Ia

mm

bock;

wIIh

a

dan,

va

raaliud

IluI

Iha

rauquranl

nom

dounld.

Dm“,

and

grawlng

dark

wIIlI

omînam

midin.

sIranac

chîll

In

Ihn

aIr--'No."

armad

Mary,

'noI

nmIn.‘

Malonay

mada

Iha

ﬂan

al

Iln

cm,

and

mhIng

scrnclnd

q;

undar

me

calllœ.

I

boaan

Io

nanar

I

could

Iocall

of

Iln

AposIIe's

Grand.

Thon

vos

Il.

sound

al

n'avons

falIIng,

and

Ib-

ghaslly

Inllng

în

Iha

bock

aî

m7

IlvnaI

af

IhaI

paa-nup

panldga—œnly

Il!!!

Iltna,

II

an

mu

“pou-m.

lenr

mnd

cana

"son

nana;

I

mlglw

lava

bun

dnmod

In

Iha

mlddla

cf

Ilua

CoaLSocl:

anwla

far

all

I

knew

Io

Ihe

conIrary.

And

II

va:

oald,

coId,

cold...

AI

Ihls

pain

Ilma

accu‘md

mfhîna

uIIarIy

unoxpocIad.

l

lady

my

4m.

You

m,

l

don'I

mm

Il).

lrraIInnaI.

l

Ialania

iI.

In

focI,

ana

üly

Ilcamnd

mnbor

a!

King

Obaran's

Coun,

and

a

dIIIo

cf

Illa

lui-national

Dothlvn

A-ocIaIIan,

l

IalavaIa

Il,

and

daaI

wIIh

van

clan-d

lump:

cf

II

on

Imla,

In.

mmhylîcal

and

Il»

pwaly

Iwman.

Whlch

I1

voua,

I

mlth'I

con

Io

Iay.

BuI

Illo

fucI

IhaI

I

llvn

and

braath

In

Ihls

ghanly

MM"

Inpllu

no

mmvaI-mlnr,

lha

carﬂary;

l

andun

II

baaaun

no—cna

CIL.

wIIl,

and,

os

un.

Garnan

ganaral

once

raid

whan

llaulad

ont

In.

cool:

l'or

Ialtlru

dmﬂlc

acIIon--'Sarmana

ha:

la

b0

tl’n

miel-d”!

nghI

aI

IhaI

MM,

Ihwah,

l'on

avaII

quu'a

la,

a:

Ilwy

say

In

lanIgn.

I

Ind

lvad

noIlIIns

bol

chaos

Ill'ovm

a?

nIy

baad

slnca

Ilrîs

bullnn

mad—nany,

poIIy,

vIcInu,

natal—dada)!an

chaos.

“Il:

Opponom

long

pan

boul-

raddna

nana,

lu

n'as

Lownrlna.

‘I'ha

Boom

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