Play Play Plat Manifesto
The Personal Is Political
World Game Now
This Film Is A Battleground: Cannes, Fr 1968

Mushrooms Internationale 2009
l’Entrevue Magazine
Seahorse Liberation Army

Swarm & Destroy: The Revolution Will Have Pedals

The Personal is Political Hobbies Galore

I have been In Art School for nine years, as a undergraduate. This expanse of time has shaped a personal Historical point of view of how I made work and life my life.
I believe that I was born into my art context. My life is my work. I will try to explain. If all else fails I simply want to teach and globe trot like Josef Beuys and Al Hansen. I am going to study to be a professor, Play Play Play. This is my mantra, to teach by direct action to teach always, free the information and live my work. Make play my work play with play and play all day. Play is more serious than serious.
I am a conceptual artist from California, circa 1980 almost 29 years of experience. I create happenings, films and philosophize life by practicing it. Since 2001 I self publish these ideas and projects on the Internet on my host website Play Play Play Inc. It is a continuum of utopian discourse and poetics I am collecting to share with the world. One day I hope Play Play Play Inc will set me free to travel and talk about everything I know in a Buckminster Fullerian tradition. As long as I have been alive, photographs, films and recorded sounds have been my journal. My artistic residue is a series of documents that proves my time on earth, for my future family and peers.
New wave poetic critic and director Jean-Luc Godard said ¬There are no such things as 'just' images, there are just images. I suppose he meant that words are metaphoric and symbolic, a streamlined signifying system, whereas images, photographic and filmed ones especially, have something irreducible about them; they just are what they are. This makes them both less and more trustworthy than words. Less because they're pinned to the literal, the circumstantial, the contingent, the trivial. More because they make no claim to Platonic statements of truth they lack the authoritarian bluster of words. Images are what they are. And we like them because we know what we like.
Images have become even more humble, amiable, accessible and intimate since people could start posting them casually on the web. Since digital photography and photo blogging started getting popular in the late 90s, I suppose you could say that photography has just become more and more like itself.
I have been connecting my self to art on any level for as long as I can remember. Professionally I have been obsessed with some form of avant-garde practice since Photoshop 2.0.
When I was a kid one of my chores for my allowance was to record on beta my mothers TV show from the 60’s called Daktari. She didn’t have any copies and Ted Turner had begun to syndicate it. Every day after school I would sit and watch my mom and the beta video machine record images of my mom as a teenage girl living in the wilds of Africa with her pet lion Clarence and her chimpanzee Judy. But this is my mom, so it just became normal I guess to see life as images you build, one plus one. I remember my cousins were shocked their aunt could get out of the television for family visits.
My mother was an original Disney Mouseketeer—like Britney but in the good old days of Annette and Donny. In fact, my mother was born in to her context as well. In 1944 my mother was born in Studio City, Los Angeles, California. Within 20 days of her birth she was a baby actress in a film called Marriage is a Private Affair, with Gary Cooper and then a regular soap baby on As the World Turns.
Entertainment television in the forties was very new and there was only a couple of hours a day of programming, but some how from two years old my mother was under contract with one studio or another. She went from MGM to Columbia to Warner Brothers, and with the most pride, she told me of working for Alfred Hitchcock for two years. She was being groomed to be the next Shirley Temple. Some how she found the time to get a masters in music, and star in T.V’s second color show Daktari, in a sort of teenage Jane Goodall character, raised by a single dad (Marshal Thompson) in the bush of Africa. The show even took her to the Congo and Kenya in the heat of upheaval in the midst of the late 1960’s. She now calls her self a “waser from was-land,” but hey, she has a Golden Globe on her mantel and fairytale memories of acting in over 70 films and 200 plus television shows along with four or five Broadway and Off Broadway plays.
My uncle is seven years older than my mom. He was also an actor until he turned 17. He was in The Day the Earth Stood Still, and many other films before ending his summertime career in the film Spartacus. He gave it all up for academics and track and field training for the 1950 Olympics in Guatemala. It was normal in the 40’s in this part of LA to put your kids to work, or so my grandmother thought. I’ve been told it was my grandmother’s escape from a troubled marriage to put her kids into acting. My grandfather on my mom's side was a head set designer for Columbia Studios during the 1940’s and 50’s—the dynasty of the old Hollywood. He went from designing sets for films to designing sets for reality, as he later became a prominent architect in LA.
Back in 1970 my father started a company called Compact Video—the predecessor to Avid Editing Systems. His company had invented a way to do high definition quality television recording and editing in close to real-time in a fraction of the physical space. In fact, Compact Video reduced a whole semi truck of equipment to fit in the cab of a Ford 150. Online video editing became the standard by 1974. News companies copied his video editing trucks and video news journalism took off like a rocket to fill the programming needs of 1970s television. It has taken nearly 40 years for this level of video equipment to become available on the consumer level. His place in the postproduction world positioned my dad at 25 as the President of YPO (Young Presidents Organization). Before my dad became a business mogul he was a racer and boat builder. His side of the family is from Sun Valley, California. Many of the streets in this part of LA are named after members of my family, such as Sheldon Street, which was named after my grandfather. Sheldon Street is even a freeway exit on the 5.
The high standards set by my parents have always been a lot to live up to, but they truly inform my life as to the potential to realize my dreams.
Both of my brothers went to Cal Arts and were a part of the underground punk scene in Los Angeles at the end of the early 1980’s. They never finished college but were always avid photographers and they both participated and celebrated in psychedelic skate culture as a kind of outsider art.
My father worried his kids were never going to have a living or direction, so he put them to work in his second business, Pacific Video, based in Hollywood. This company is still around today in several forms such as 4MC, Kodak Post and Laser Pacific Media Corp. These are all major post houses.
Both of my brothers, Ron and Rob, worked their way from the tape vault to prime time television and now films. Rob shares a Golden Globe for the show Party of Five. He is now reediting a film that won placement in Sundance's 2009 documentary category called DIRT. IMDB him for a list of his work it rivals my Mothers known career.
Ron, my eldest brother, runs a successful water sports and documentary film company called Sidewayz. Sidewayz is a reference to my dad's first home business and his hobby boat design and racing. All of his boats were named Sidewayz. Ron’s work in mainstream television gave him the tools to live a successful life as an image editor and film director. His Pacific Video days had him editing Murphy Brown, Family Matters, and The Simpsons and after hours he would begin to experiment with the capabilities of high-end editing equipment. In an almost Tony Conrad tradition, my brother Ron’s first film was a montage skate film called Confusion Illusion. It combined the idea of formlessness, morphs and milky colors mixed with A.D.D. speedy skate collages moving and flickering. It's a very disorientating piece, but when I saw it for the first time at age 13, I was in awe; in retrospect he was reinventing the skate video as pseudo structuralist film. He began taking me with him to work when I was old enough to hang out. Mostly I slept on a client couch and did kryon credit titling for him. Those times in Pacific Video really helped me to look at compelling image making and the rebelliousness of youth as intrinsically connected. I looked up to my brothers and their neon lives. Ron also had a hobby of chopping up Volkswagen cars from the 70's and 80's and painting them in the art car tradition. To me as a early teenager there was no one as cool as Ron and Rob.
My Mother was divorced from my father before I was born, and to this day I am confused about my early life. We spent many years moving about from Palm Springs to Corona Del Mar to Los Angeles to Indiana. Finally settling for good in Orange County. All the while perfecting my Ferris Bueller fake sick acting routine.
My mother never pushed acting on me, but I've followed in her footsteps as a performer, actor, artist, and musician. It all entered my life through my childhood hobbies—from Lego’s, tree houses, photography, soapbox racers and method acting training to “sleight of hand” table magic and early computer programming. Some of my hobbies in their isolation also led me to the internet in its formative years; the 90’s.
With my mother's support, I won second place in the international close up magic competition held in Las Vegas in 1994. I became the youngest performing magician and member at the Magic Castle in Hollywood. I was no more than 14, and I was competing against all the world's magicians. Being a sleight of hand magician formed the basis for my relationship to performing. My mother stopped acting completely around 1977 and began collecting art. She filled our home with surrealist and abstract expressionist paintings and raised me as a sort of only child—my brothers are 10 and 12 years older than I.
In High School I rejected my old hobby and almost profession of magic for the homogenizing forces of sub cultural acceptance, I slowly changed from computer nerd hacker and magician to a not so typical punk rocker and later mod. My appropriation of these sub cultural memes’ for better or worse , became my basic understanding on the youth culture as an idea. A sculptable idea, Be it the underground, or the spectacle.
Well its actually it was way before 1968, however Paris in May 1968 is the icon of a spectacle revolution that almost worked. 10 days of happiness to possibly 3 weeks of time passed with no real government rule in Paris with the Sorbonne occupied by student Leninist Marxist and splinter group Situationist sympathizers.
Ron’s biggest contribution in film so far is the development and documentation of the sport of wake boarding. He accidentally created the sport when he was a boy in Corona Del Mar, California surfing behind the wake of a Boston whaler in the Newport bay driven by my other brother rob. Some say Tony Finn invented wake boarding but it was my brother I’ve seen the photo. In May 2009 Ron is embarking to Africa to make a film about soccer and its positive influence in rural poverty ridden region of Africa. This is a new direction for him.
Both Ron and I were given many cameras at an early age, and I was even supported from age 11 on with a seemingly endless supply of 35mm film and processing from my mom to instill a love for image making.
By eighteen I had lost my virginity, tried marijuana, had my first two cars, and my first taste of real freedom, I worked at a punk youth venue called Koo’s and participated in happenings like Food Not Bombs. This is were I met Amber Nicole Gavin and Virgil Polite, my too best friends at this point, Virgil exposed me and Amber to Dada and beat poetry and one of the first mp3 players, we instantly started a noise band called not for air that performed regularly at Koo’s café. Virgil was home schooled by his M.I.T. professor parents and had built a experimental aircraft in his garage. I was in Shock the first time I visited his home in Tustin. Over grown with tree and bushes and as the garage door opened there it was in all my disbelief a single engine kit fox stunt plane. Hand made from age 9 to 17. That kid is a genius, and so is Amber. Amber is my first muse to my existential poet, so naturally my early photo work is a pastiche of our teens lives growing up together.
I moved out to a warehouse in Santa Ana in the arts village with my first real girlfriend Amber. I had a artist photographer mentor friend named Charles Staunton he rented me the warehouse for 200 dollars a month and I began to absorb all his art books and tagged along to every museum show in LA. I learned about performance art from Charlie. In fact he was one of the founding members of the seahorse liberation army. SLA was first a poetry group; later it became a conceptual art group I co-opted in 2001 for the purposes of guerrilla dada semiotics and cultural critique. The Seahorse Liberation Army borrows its name from the American Terrorist group the Symbionese Liberation Army as a poetic soft subversion.
In 2000 I went to the Geffen contemporary with Virgil Charlie and Amber, one half of the show was the Tropicalist “Experimental Exercise of Freedom” exhibit by Lygia Clark and Helio Oiticica. Juxtaposed by a retrospective of Barbra Kruger’s video installations. The Brazilian Os Mutantes side of the museum was so playful and interactive full of tents and sandboxes with music players begging the viewer to do what ever you please. So naturally we continued to play on the Barbra Kruger have to the museum. We had been thrift store shopping earlier that day and collected several tracksuits. Some how we were ejected from the museum for playing smear the queer in running suits in the dark of a Kruger video installation. It all started to make since to me. Reconstructed meaning thou play. I had to go to art school. So I did.
I went to as many as I could. I count 8 colleges across the country and one in Prague I’ve spent a significant amount of time attending with or with out paying. From UCLA to Sara Lawrence College and back, spending the most time formally at San Francisco Art Institute, School of the Art Institute of Chicago and Art Center College of Design Pasadena.
I spent 1 year at Orange Coast College and Art Center of Design enrolled in color photography, silk screening, advertising, film, marine biology and sex education classes. Then I left California for Chicago in 2000. Charles Staunton escorted me in a cross-country drive to School of the Art Institute of Chicago. I was a fine art performance major, in the city that housed the exiled Imaginist Bauhaus entourage. Chicago Art Institutes Art History program rigorously pushes a critical analysis and deconstruction of nearly ever history except they did not cover conceptual art. My dorm mate Guston Sandan Klasor was from the Bay Area and told me my work would grow exponentially in the right environment and context. He suggested northern California.
These influences stayed with me as I made my way back to California. With the blood of Jack Kerouac and Allen Ginsberg in my veins I be-lined for San Francisco Art Institute. That is where it all clicked. My work was received well at SFAI and then heavily criticized for being to theatrical. By my second performance at San Francisco Art Institute theatricality was considered and balanced in to the new histories I had begun to see. My intentions and interest shifted to a west coast conceptualism with a pinch of Gilles Deleuze and Felix Guattari thanks to the superb teaching of Tony Labat, Sharon Grace and my student peers.
How do I say this politely, Chicago is to California as is Political Theater is to Conceptual Art. That is to say in my journey I still delicately balance the theatricality of the Bauhaus and Dadaist with the rigors of a hard-core conceptual art movement in the West coast. Some even say the Bay area is the nexus for the beginnings of the conceptualism movement, which quickly spread to LA and beyond as a reaction to New York and the World of accepted art.
From this point on I was making work. One piece led to next exploration. In the first weeks of SFAI, student artist Sean Talley and Eric Jones approached me about starting a Art Collective. After a series of name changes the poetry group from my late teens, Seahorse Liberation Army was back. Only this time armed with new Meta tools, and a dialectical critique.
we describe ourselves as Dadaist guerilla semioticians, and are hence dedicated to the violent overthrow of sense and meaning by the creation of works of non- and anti-art that mock the art establishment by deconstructing and caricaturing accepted genres by consciously imbuing them with meaninglessness whilst simultaneously challenging the audience to find artistic merit in the work, thereby highlighting the vapid pretentiousness of the art/critic dialectic. More simply I was interested in the alteration of signs and signifiers and their recursive possibilities in the meme-plex of collective consciousness.
In my Second Performance at SFAI, I rode my white powder coated stationary bicycle elevated by a pedestal in a white TV studio all the while attempting to play a Moog Theremin with my encroaching body and legs in nothing but a pair of Speedos and a bottle of sun tan oil. In an ode to John Cage, Rock & Roll, Jacques Tati and Marcel Duchamp, I mount my bike in the artist studio and begin pedaling thrashing and interacting between the Theremin, and the bike until every thing falls apart in a painful crash meets attempted sexual climax. The Idea came to me while watching Jacques Tati’s The Postman and his seminal critical vaudevillian comedy Playtime. As an artist relate to the camera in the same way Nam June Paik’s Video Buddha functions, a self-reflexive feedback loop. Godard once said a camera is merely a flashlight to examine your gun with.
My motivation was to make a fixed gear bicycle that sonically reminded the viewer of Nintendo’s 1984 video game Excitebike. My obsession with analog synthesizers, provided the sound source. Over time while developing the project evolved a particular set references for me. It does not matter that you know them but the most obvious reference is to Bicycle Wheel, also the repeated skidding around and falling references, Duchamp In Advance Of The Broken Arm. The piece also references the movement of Nude Descending A Staircase (No. 2). The Theremin refers to John Cage’s chance operational strategies and conversations on silence and to Duchamp's With Hidden Noise. The nudity of The Bride Stripped Bare By Her Bachelors, Even and the Speedos of L.H.O.O.Q (a pun in French - pronounced "elle a chaud au cul" - "she has a hot ass") are considered references. The fetishized track bike painted shiny white references the 1960’s band Tomorrow who gleefully sang about the free white bikes of Amsterdam and the Provos a youth splinter group of the Situationist International. It also is a ready made more or less insisting on Duchamp's seminal Fountain by the seriousness of the work. (Fountain is a urinal, inverted so as not to accept urine, or more colloquially, "not taking the piss".) Can a found object be art, if not created as an art-object? Yes.
His ready-mades, such as Bottle Rack are precisely that - Duchamp's role in this and similar works was simply to identify an object as being of artistic merit and label it as such. Hence the familiar cry of the modern artist: "It's art because I say so!"
The highest art reveals the art and conceals the artist, and yet the artist (being forced to use an imperfect medium) is doomed to reveal them self as opposed to the subject.
In another analysis of this piece, one confronts a veritable dilemma: either reject cultural situationism or draw the conclusion that the musical interplay of the bicycle may be used to oppress the proletariat, but only if realism is invalid; if that is not the case, narrative must come from the individual - the freudian slave who we see toiling perpetually at this bicycle, set against the backdrop of a white Debordist infinity.
Should your understanding of signs be Freudian then lets not forget about the banana as primarily phallic, but for me it was a Warholian reference. You might want to watch the piece on YouTube to make you own interpretation.
As stated earlier, the artist's opinion as to what their art means is no more important that the opinion of anyone else. Yet each person brings their understanding of semiotics to the table when viewing any work of contemporary art i.e. post-post modernism and post structuralism. This project ever further solidified my process and style and outcome.
With every spare moment Jean-Luc Godard’s early films permeated my head. After repeatedly watching Godard’s Weekend and Pierrot le Fou I began to question my personal love life. I Had my heart crushed by Amber Gavin over existential differences It was over after many years. In emotional response painted the phrase LOVE, LOVE on full tennis court in direct reference to Robert Indiana’s love sculpture. The new metaphor created is a existentialist view of life; the score is 0=0, “love love” as in tennis. For me it was the most romantic and sad pieces ive done. This piece is a response to my state of being alone and Inspired by my hero’s of linguistic and poetic art Lawrence Weiner, Jean-Luc Godard and Raoul Vaneigem. It is still visible today in the Presidio National Park and viewable 5 years later on Google Earth. This was a success.

Since 2003 my life has become a full integration of Situationist practice merged with the dialectical criticism of the French New Wave and Post Structuralism to name a few. Being from Hollywood I wish to fight three or four Vietnams in it’s bosom. I believe I am on earth to make 3 or 4 filmic works that critique the medium and the industry of capitol based art making and celebrate life unresolved as a mystery with no end. But first I am dedicated to Living and documentation as a research for future films.
I am currently working on a short film that follows a heart broken artist turn mushroom hunter around golden gate park as he attempt to heal himself from unrequited love with a new hobby of botany and love documenting a fruiting time-lapse of a psychedelic mushroom. Some where in his eating the mushroom he find in the park, The heart broken boy decided to make a short film in the film where he reenacts a pivotal scene in Pierrot le Fou of Pierrot being water tortured. He is to give the whereabouts of his lover, Anna Karina but instead he says “Fe Fi Fo Fum”, and he is continuously tortured. The film with in a film is made as a gift for the lost lover. This urge to make and give squelched the Main Characters need to seek escape in mushrooms and he is happy finally with plutonic love, it ends randomly. This is my first autobiographical project. It has given me piece of mind to work with things that trouble me, such as dieing alone. Godard spoke if this type of art making/directing as most simply as an acknowledgement of the director as the primary and shaping force behind any film; those directors whose body of work tends to exhibit the features of any number of recurring themes that might reveal some personal vision or world-view are especially prized in the auteur-centric evaluation of cinema, for their work demonstrates an individual and authorial presence in spite of the outside influence of film-as-commodity production models or budgetary constraints. In gradually developing this doctrine, Godard and many of the other critics in the Arts and Cahiers du Cinema group were among the first writers about film to make a case for actual artists existing within the Hollywood system, and it is to these “young turks” that we owe even today so much gratitude for the creation of an aesthetic discourse on directors such as Orson Welles, Alfred Hitchcock, Howard Hawks, and Nicholas Ray.
Although often singled out as the “theorist” of the Cahiers group, Godard's penchant for playful allusion and the poignant turn of phrase establish him more clearly as the journal's resident “poet-critic.” This role has served Godard, and the history of film criticism itself, rather well. For when we review the collective body of Godard's output as film critic, we find that through the practice of his uniquely rarefied, poetic approach, Godard was in effect carving out a new “assessment” of cinema that, while alternative, could essentially stand in for the mainstream or definitive history and conception of the medium. The cinema as put forth by Godard was therefore a “cinema that might have been,” a canon (or anti-canon) that existed only as an ideal, a series of groupings whose relation to each other
My materials tend to be meta materials or referencing minimalism, while embracing conceptual art strategies. In a almost metaphoric post modern appropriation of meaning I encourage you to see my attached incomplete list of materials.
Salient features of postmodernism are normally thought to include the ironic play with styles, citations and narrative levels, a metaphysical skepticism or nihilism towards the “grand narratives” of Western culture,(1) a preference for the virtual at the expense of the real, (2) and a “waning of affect”(3) on the part of the subject, who is caught up in the free interplay of virtual, endlessly reproducible signs inducing a state of consciousness similar to schizophrenia.(4)

My work is unfinished and forever, because this process of unfinished I have established poem manifesto to deconstruct my hermetic home made reference in relation to the history of subversion and alternative art histories.

-The Manifesto

Play Play
A utopian struggle
Tree houses
Graphic designs
Happenings to the moon
Love adventures
We are publishing the underground
Lets play!
Play play play = xxx
xxx is SLA
xxx is an art collective
Intent on furthering utopic ideals
Play play play is a world expo
xxx is a baby schooner, one of two in a pirate fleet
SLA is the larger schooner, the attack force
Play play play is the defense. SLA is the offence
Play play play is class war
xxx is making...
Bicycles (white)
Mopeds (white)
Play is power, play is our power
We are more serious than serious
xxx is a subversive agent.
Play play play is an explorers club.
xxx is intuitive misspelled
Play play play is for
The merry pranksters
The diggers
The Yippies
The Situationist Int.
Up against the wall mother lovers err . Fuckers.
xxx is the extreme left of the play discourse.
Quit your day job to xxx.
Play play play is provos in California
Modern loving in California
Play play play is passed on by escape artist
John cage,
Buckminster fuller
Guy Debord
Joseph Boyes
Nick curry
Lygia Clark
Expo Ernie
Xxx is discovering magic, half dead
Stumbling into foreign lands.
Xxx is Benjamin broad, (explorer)
When two lovers fleeing the police, sneak into a movie
That is xxx
A girl with a revolver pointed at a camera
And a young man named Lazlo Kovaks
And all they wanted to do is live their lives to live.
the is the play play play
xxx is soft subverted
ppp is cinema fou
We will fight three or four Vietnams in the bosom of Hollywood.
xxx is beneath the paving stones.
play play play is the next sublime experience +
xxx is Alice Becker-Ho and Lazlo Kovaks, and friends...
xxx is always arriving and never leaving.
play play play is a video conference with
the administration in a cardboard geodesic dome
xxx is not a manifesto, xxx blacks out all manifestos
play play play is for Neoism
xxx – play play play is…
California sublime.
xxx is design and crime.
p.l.a.y. is power
days of war and nights of love is xxx
play is non violent intervention
play play play is public not private
play is pure lucidity
play play play is doing the most with the least
xxx is designing in the rain
What? Will the rain provide, who will stop the rain...
Xxx is designing cities
And stealing all the maps
play play play is psychogeographic,
Jack the ripper is psychogeographically in love.
xxx is out laws and intellectuals
Designing to the music
play play play is 1968 and 1986
Play play play as the antithesis of everything and nothing
Experimental in nature, specialist in nothing.
play play play is a total environment
play play play is the search for Buddha nature in everything
play play play is a child,
play is poetry, viva la seahorse liberation army
make play your work, and work your play
play with play and play all day
play is eat or die, play is slow, play is fast
xxx is a letter to your friends on how to make films together
Do children holiday from play, no one takes vacations,
The underground has abolished work
The play is mightier than the politician
Join the Gentle strike
Power 2 the people, who know
Play is power
The pranksters versus the politicos
Pro-play, pro mopeders, pro bucky
Pro cardboard utopia, pro professional non student
Nihilism or wholeness
Play play play is the revolution of everyday life,
The revolution of revolutions,
the revolution of brushing your teeth slowly.
Play is when you become a firework
Play is emerging and entropic, and possible quantum determined
Play is Mexico, Cuba, Amsterdam, san Francisco, Burma, Tibet, Tangiers, SUMATRA, Bolivia.
Deserted islands with a swimming pool that sports a grand piano at the bottom.
Play play play is camping under concert grand pianos
Play is paradise now, (vote Provos for better weather)
We are CNN and the Banko Popular
Xxx is a happening in time and space
Xxx is love
Love is constantly falling in love , over and over and over
Play is education and un programming
Xxx is a game and a exercise, play is making mistakes, as many as possible
Play play play is the road to excess, the road to excess leads to the plaice of wisdom,
or at least a rad play ground of context.
Play is two beers, one for when the other one is done
Play play play is sex on the beaches with a peach
Xxx is Ray and Charels Eames, safe in heaven dead.
Xxx is a sage named Bucky Fuller, lets get hip
Xxx is becoming a mushroom, let us become a mushroom.
Ppp is nutrient rich soil, life lust, wood chip
Xxx is a alder tree, and a rhododendron plant
Play play play is mycelium running…
Cyanescens mushroom is the question and the answer
What is the next way to live your life, xxx.
Play play play is the most with the least
Xxx is beyond the law with out breaking the law
Play play play is a change of environment
Play is the aphrodisiac to /of innocence
Xxx is a world game strategy
Play play play is a dymaxion
Xxx is a crash landing in the fabric of time
Play play play is a huge umbrella as a autonomous zone
Xxx is your own country
Ppp is a poem that never ends
Play play play is kling klang
Play play play is a meme repeated three times
It never degenerates
Play is never wasted
Play play play as the main basis for civilization
Play is the only explanation of our survival…
Love is the only explanation of our survival…
P l a y is seeking to hijack the era into timelessness
Hide and seek is my favorite play of the day
Xxx is simple and effective
Play play play is free will without resentment
Xxx is tomorrow xxx is today
Play play play is my white bicycle
Our escape is a play play play
Play play play is two kids spitting water on each other
Xxx is ten thousand minds on fire
This poem is a battleground
This battleground is a film
Xxx has nothing to loose but boredom
Play play play is revolution for the hell of it.

1. See Lyotard, Jean-François, The Postmodern Condition: A Report on Knowledge, Minneapolis: University of Minneapolis Press 1984
2. See Baudrillard, Jean: “Simulacra and Simulations.” In: Jean Baudrillard. Selected Writings. Stanford: Stanford University Press 1988, pp. 166-184.
3. Jameson, Fredric: Postmodernism or, The Cultural Logic of Late Capitalism. Durham: Duke University Press 1991, p. 16
4. Jameson, Fredric: Postmodernism or, The Cultural Logic of Late Capitalism. Durham: Duke University Press 1991, pp. 26-27.

MATERIALS LIST… (incomplete)
Memetic warfare
Culture subversion
class war
Minimal/pop/modern/postmodern = post-postmodern
Cool cute rebellion
Spirit of terrorism
Amore Fou
Sexwax, for surfing
Surf culture
Pierrot Le Fou
Cinema Fou
Experimental exercises of freedom
Situationist dialogue
Ethnographic anthropology
Unstable language, semiotics rhetoric
California sublime
Power iconography
Tony Conrad
Yayo Kusama
Al Hansen
Folk and electronic as one in the same
The avant-gardes use of just intonation
Western vs. eastern
Pacific rim
Going fast
Add culture
Art therapy
Life out of balance
Simple bicycles
Feedback loops
Feed back loops as leveraging point in a system
Information systems/architecture
Modernist architecture
Buckminster fuller
John cage
Cliché’s and Stereotypes
Madman/ scientist complex
Words and ideas as meme’s as a study of recursion
Everything is connected
Jack Kerouac
Neil Cassidy
San Francisco
Pot culture / alcohol cultures
People’s revolution
Jacques Tati
Post art school
Culture dissemination factories
Political film / rant
Manifest destiny vs. The will to the virtual
Poverty of hip life
Poverty of student life
Soft ness
we are not political we are hypocritical

1. Intellectual and moral anarchy
2. A series of structures that dovetail with one another
3. The adventure is sufficiently total for one not to know what comes next
4. The important thing is to remember one exists
5. Are we watching the birth of cinema
6. Love has to be reinvented all over again
7. You are weak, you must grow old, you must die.
8. Everything that makes you into a owner adapts you to the order of things and makes you old
9. Time which slips away is what fills the void created by the absence of the self.
10. Survival sickness

Erik Seidenglanz. 27 April 2009