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Peter Dale Scott, one of the most perceptive and provocative political- historical thinkers of our time, addresses in this podcast interview the Deep State in the United States and the common patterns of the two great events in American history in the last fifty years that were deep events and had constitutional changes as consequences – the JFK assassination ’6. Peter Dale Scott is a former Canadian diplomat and English Professor at the University of California, Berkeley. The son of noted Canadian poet and constitutional lawyer F. R. Scott and painter Marian Dale Scott, who was born in Montreal, Canada on January 1. Peter Dale Scott’s personal website is: www. In addition to the following interview, we would like to recommend two other interviews that Lars Schall conducted with Peter Dale Scott in the past – America, Would You Please Wake Up!, and. Why JFK’s Death Still Matters. Let’s Talk About the American Deep State. Transcript. Lars Schall: Peter, we decided to talk this time about the Deep State, and the first question I would like to ask you is, why would you say it is still relevant to talk about 9/1. Peter Dale Scott: Well, 9/1. American foreign and domestic policy, it is the reason we went almost immediately into Afghanistan and it is also why we began planning almost immediately to invade Iraq, which was based on the false assumption that Saddam Hussein had some connection with Al- Qaeda. Where evidence had been provided it was false evidence but the administration chose to believe it. From an American point of view the changes in foreign policy are perhaps not as serious as the implementation on that day of what we call continuity of government (COG) procedures, which have radically altered the status of the American constitution in this country. They had been planning for 2. Donald Rumsfeld and Dick Cheney, who were also the two men who implemented them on 9/1. We don’t know in detail the plans but I think we can safely sum them up under three headings; one of them is warrantless surveillance, Edward Snowden has proved beyond a shadow of a doubt that it is massive in the country, and it is because of this COG implementation. One is warrantless detention; we had more than a thousand Muslims rounded up without a warrant and held. We have something called . But more than a thousand people were detained and not charged, and some of them were tortured. That is a huge, huge change in the domestic condition of America. And then finally the involvement of the military in what we call homeland security. The military now play a police role, and that too is something new. You would occasionally have the army called in briefly to deal with a crisis like the rioting we had in the inner cities in the 1. But to have a permanent army command for North America that is called NORTHCOM – that is very new; it is a radical change in the role of the army. And above all this is what I talk about in . We now have institutions, which are aiming to operate in America without being controlled by the American constitution. I don’t see how you could have a more radical change than that. LS: What is the Deep State, what are Deep Events and what has 9/1. PDS: Let me get somebody else’s definition of the deep state. A Washington Post reporter called Dana Priest wrote a book . And it is exactly because of 9/1. COG changes, which were authorized, implemented before the last of the four planes had gone down. They implemented COG, then they proclaimed an emergency three days later, and since then we have been living in this state of emergency, which means that in effect the constitution does not rule the way it used to. Now you asked about deep events. I call a deep event because from the very beginning it was not very clear exactly what happened. Even journalists commented on the confusion and the inaccuracy of reports, it became so bad that congress had to press . There was a crime scene that was dismantled almost immediately; some people would say that was illegal. They said they were looking for corpses, and that is why they carried away all steel. But now scientists are very interested to know what residues were in that steel to see if the buildings were perhaps blown up or not. Most of the steel was shipped out of the country very quickly, and so it is a deep event, and we had the commission to investigate it. The two great events that are deep events are first the Kennedy assassination ’6. You know I think I have had some deep events in my personal life: I described one in . But the ones which had constitutional consequences were the Kennedy assassination – the consequences were pretty invisible in that one but they were real: they changed the role of the CIA and its relationship to the FBI and to local police. Much more important were the changes after 9/1. Just take the one that Edward Snowden has so completely documented, warrantless surveillance. That I think of the big three is perhaps the least important, but it is the only one that we are really talking about in this country. And in both cases you had commissions to investigate, and they came out with findings which were demonstrably not true. Now that is the real test of a big deep event – when they investigate it and they give you a story, which almost immediately people can start picking holes in and seeing it is not true. So by definition a deep event is one which we are not given the truth about and the biggest ones we are given a story, which may be true in certain respects but in key respects it is not true. LS: One thing you are looking at in your work are patterns that were common both in 9/1. JFK assassination. First of all, when did you discover this phenomenon and what did you feel about it? PDS: Pretty soon after 9/1. I was struck by the fact that they knew almost immediately who had done it. In Richard Clarke’s book (he was in position of authority) he says that the FBI had a list of the hijackers of the planes before ten o’clock of that day and that also is before the last of the planes had gone down. For anyone who knows anything about the Kennedy assassination, one of the things that has never been explained is how they were broadcasting on the police tape a description of the perpetrator, the man who had shot Kennedy, allegedly from a window and they gave a pretty precise description: 5 feet ten inches, 1. They eventually attributed it to a man called Howard Brennan down below; but he had only seen the top half of the man in the window, so how would he know 5 feet ten inches, 1. The interesting thing is – that was the description of Lee Harvey Oswald in his FBI file and in his CIA file even though it was not true. They were broadcasting a description of the perpetrator within 1. I say broadcast, I mean on the internal police radio) that had been taken from the FBI file and the CIA file; and the FBI has never been able really to explain, nobody has been able to explain how that was done from the government side. And the same is true with 9/1. Again they circulated internally a list of the hijackers and there were two names on that list that were hastily dropped because one of them . It was a list I think they took out of files. And that is just the first similarity between these two deep events. In my book “The War Conspiracy” I have more than a dozen similarities and I have since been adding to that list myself the modus operandi. The other thing is that these people laid a paper trail: Oswald kept a diary, and he did all kinds of things which were later used to incriminate him (although he was of course dead), and at Logan Airport Mohamed Atta and his friends had left a car that was filled with evidence. And that was very convenient for the FBI that the perpetrators or what I call the designated culprits because it was clearly decided in advance who was going to be blamed for this – and they had these people actually help document the case against themselves. I could go on and on; I don’t know if that is enough for you. LS: Well, I would like to ask you about specific communication channels that were involved both in JFK and 9/1. Why is it perhaps the most important similarity? PDS: Well yes, I believe that the national communications network – it has had different names over the years, but it is the special network that was set up in connection with Continuity of Government planning, and it goes back to the 1. This is a similarity that I came to later. For many years I have known that the White House Communications Agency . In 1. 99. 3 when they set up a. And yet the White House Communications Agency boasts on its website – I imagine you can still read it there – that it helped solve the Kennedy assassination. And that is very interesting because the records never reached the Warren Commission, which was supposed to be solving it. And then when the records began to come out about 9/1. And in my book The Road to 9/1. I said the evidence points to suggestion that they were using — they had already implemented COG; well that means that if that is the case, they implemented . They did not know about it because Oliver North was in charge of that same emergency network and he used that emergency network to make communications with the Embassy in Portugal, for example, in order to facilitate getting those arms to Iran. So that is for me a common denominator. And in Watergate, that is another deep event. We still don’t know why there was a wiretap put on the phone in the Democratic National Committee but we do know that James Mc. Cord who was in charge of the team that installed it was a member of a Special Air Force Reserve network that was concerned with Continuity of Government. And he was charged with the same sort of thing: who to round up, the warrantless detention: they had that sort of thing back in the days of Watergate. So this to me is one of the most striking common denominators through those big four deep events – JFK, Watergate, Iran- Contra, and finally 9/1. Corner College. 20. Curatorial Reading Group. Curatorial Reading Group. Session 1. The Curatorial Reading Group is a monthly reading session, aimed at enhancing our creativities in curatorial approaches through a continuous series of discussions. Spaces in fiction – Constructs of Reality by Annee Gr. We will write you back with a copy of the book, and warmly recommend you to read it before the session. Aesthetic Agency and the Practices of Autonomy. Part 1: Critique de l. The studio might be a space where a certain degree of autonomy can be detected. The exhibition/project expresses how productivity in art depends on the relation between the artist. The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non- places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist- labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality. Following psychoanalytic practices, the project Part I: Critique de l. To what extent can the studio support the autonomy of the artist? Giorgio Agamben attributes to the Situationists an . At the same time, they will remain . In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. They can be used as a model for an exit from the . Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio- economic relations outside of capital, like generic commons, undercommons, etc. Work is here used not necessarily to designate an art object. The working environment of the studio can be seen from many angles. At the same time, it remains a place where (un)productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor- power and slows down, or accelerates a virtuoso productivity. How can they sustain their working environment relying on income from their artistic labor and art- work. Often, they inhabit the studio mostly in the time in- between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project- oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e- mail and research work mostly based on Google searches. Being an artist is a day- to- day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Although the artist precariat is potentially revolutionary and resistive, Hito Steyerl describes the instrumental precarization in the third stage of institutional critique that leads merely to . Aesthetic Agency and the Practices of Autonomy. The operations of Moral and Politics, Aesthetics and Immanent Critique, invite a re- thinking in the sense of the moral fight (Nietzsche), as Gilles Deleuze puts it in his essay about Foucault: . All form is a combination of all forces, a mix of human and non- human in the process of individuation. This precarious man- form is the extra- human ethical being of politics. Indeed, in Deleuze and Guattari. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does. Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy. Aesthetic experience as a practice of philosophy has never been necessarily attached to the field of art and the artwork, and has mutated to the concepts of aesthetics of existence and of life as a work of art (in Foucault. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too. Peter Osborne writes that . Video still. For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed. Series of 3. 6 photographs. Studio of Rosen/Wojnar, Berlin 2. In At Work (Cuckoo) la. The L- Word - No mas metales ist jedoch auch eine filmische Reflexion . Photo: Maria Pomiansky. Courtesy the artist. What is the role of the painter's atelier in contemporary art practice? The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non- computer activities. It can be interpreted as a manifestation of humanity. It is a collection of eleven selected essays deriving from academic research that explores historical dimensions of graphic design in Switzerland – from producing it, to archiving and exhibiting it. A presentation of the book will be followed by a number of talks by contributors and sponsors on why they did support / contribute. The evening will end with a toast on the publication. He has previously been teacher and researcher at SUPSI University of Applied Sciences and Arts of Southern Switzerland. At the HKB Bern University of the Arts, he is head of the MA Communication Design, researcher at the Department of R+D Communication Design, and professor of design history. Posted by Corner College Collective. Buchvernissage. Jennifer Bennett: SAVEJennifer Bennett. Jennifer Bennett stellt ihr Buch SAVE vor, welches im September im Textem Verlag Hamburg erschienen ist. Auf einer Reise werden unterschiedliche Protagonistinnen und Protagonisten gesucht und gefunden, um sie zu den Themen Selbstorganisation, Rebellion, Netzwerke, Territorium, Nation, Staatsangeh. Es wird darin exemplarisch, welche Rolle Einzelne in der Gesellschaft und im eigenen Umfeld annehmen, und ist auch eine ganz pers. Es zeigt sich, dass bei geplanten Grossprojekten 1. Stimmen, die sich dagegen auflehnen, nicht ber. Kurzfristige Profite stehen . Die Frage, die sich stellt, ist das wirklich in unserem Sinn oder werden uns Bed? Sind wir so resigniert, dass wir den Kopf noch tiefer in den Sand stecken oder m? Like pirate radios, p. In resonance with Cora Piantoni's exhibition Buon Lavoro! Prose of The Day – Poetic Resistance at Corner College, in this talk the p. Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider. Prose of The Day – Poetic Resistance. Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Aber wie alle mythologische Phantasmen neigen auch diese Dinge dazu sich wieder in Luftblasen aufzul. Efferveszenz, schreibt Capron, ist eine Frechheit, sie verk. Auf poetisch- satirische Weise untersucht Capron unseren Glauben in den technischen Fortschritt, sie l. Das Horoskop der Hypermonster ist eine Galerie von zw. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen. Sie studierte Philosophie an der Sorbonne. Heute unterrichtet sie Franz. Sie arbeitet an Projekten im Bereich plastischer Literatur und ist Mitglied des Autorenkollektivs Index, des Ad. S und der SSA. Die Illustratorin Marianne Smolska kommt urspr. Sie arbeitet im Bereich der Illustration, Grafik und Gestaltung an verschiedenen Projekten f. Eine Veranstaltungsreihe des Corner College. A series of events by Corner College. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio- political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed. Detaching the spoken narrative from the subjects. Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid. She received several awards including Swiss Art Award (2. Kiefer Hablitzel Foundation Award (2. Grant from Zurich City (2. Manorkunstpreis Basel (2. Paris (2. 00. 9) and New York (2. The artist installs a three- days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats. In his talk he presents his new experiments and talks about his research and practice in general. A series of web pages have been created to map out a selection of these encounters. Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off- line reality on the virtual and online environment. Posted by Corner College Collective. Buchvernissage. Matin. Gedankenphotographien des Mediums Ted Serios. Romeo Gr. Brimacombe, Getty Pictures Archive. Aus Anlass des 1. Todestages von Ted Serios pr. Der Bildband widmet sich mit Ted Serios. Herausgeber des Bandes ist der Hamburger Filmemacher und Regisseur Romeo Gr. Nach der Auftaktveranstaltung im Metropolis Kino Hamburg wird der Forschungszusammenhang am 2. November zur Matinee um 1.
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