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THE LAST DAYS OF POMPEII (Dahou & DEBORD, June 30, 1955)

If exposure of Gallic coins of the rue d'Ulm has excited the indignation of the most narrow-minded nationalists, including the Gauls were once the exclusive property, it had nevertheless been rising for the sole purpose of fighting the socialist realism, plastic from the tradition of Greco-Latin, by opposing a certain conception of modern art-eternal, incompletely figurative, that insiders may recognize in the decoration of caves, dolls Hopi, the Gallic coins and the latest theories Charles Estienne.

Dede-les-Amourettes, always on the lookout an ideological break easily, was naturally involved. With the hope of regild its name by a new dose of primitivism. We know that primitivism is for him what is Bogomoletz for others.

dualistic construction that seeks to oppose an "eternal tendency" of art to another is as stupid as all of occult thought, equally dear to the same people.

Like most traditional dishes, the most artificial realism was already the preserve of the socialist-realist theory, the two bad cases are now fighting on the same field with the same weapons, which are precisely those of the petty-bourgeois idealism. Each proudly defends the antiquity and eternity of its standards.

can judge from the article by M. Pierre Meren ("Operation Art Gauls") in Issue 65 of The New Criticism . M. Meren for all attempts so-called modern art movements necessarily join primitive because they show the same inability of man to a world that springs him escape. But instead of realizing that if attempts are expressions historically needed a modern alienation of man, their passing is nothing else than an art full level of resources it is today to submit, Meren merely prescribe the remedy that s is supremely demonstrated in Athens and in Renaissance Europe.

The same aesthetic moreover more references because it was the raw material of all sub-products of artistic dumbing reserved to the people by the bourgeoisie, since the latter, bound by the technical progress to educate future employees, has had to develop the falsification of this instruction, textbooks for the daily press.

These trivialities, left and right, will soon be corrected by history. These companies have in common is that their program shows to fill their void, and provides even go to work.

In this regard, it is good to admit that we have not gone to the Educational Museum of the Rue d'Ulm since May 1952. At that time, making one stone, we were there we visited after the demonstration against Ridgway to interrupt a ridiculous Congress Poetry for Young - the last exhibition of its kind in Paris, to our knowledge - and several police cars called by the Museum's management had been required to defend this against our Teen Poetry criticism.

Other pranks have since been able to choose the same formal framework and teaching. We have not seen again in this moving, even if his search would be the vanguard to expose the false money be used.

Mohamed Dahou, G.-E. DEBORD.

Mohamed Dahou & G.-E. Debord, "The Last Days of Pompeii" Potlatch. Newsletter of the French group of the International Lettrist , Number 21, June 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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THE BIBLE IS THE ONLY WRITER that does not disappoint CECIL B. MILE

Nobody remembers the screening of some films lettrists in 1952, censorship had set them at time of order. We will stop now regret it because everyone can see the latest film by Norman McLaren, who according to his statements, seems to have taken most of the formal presentation. Coming at the end of a long career full of hard work and dedication to the cause of educational films of UNESCO, Blinkity blark earned its creator a deserved admiration 8th Festival de Cannes, which was, this detail, as bleak as expected. And ourselves, we warmly welcome us to prove that despite various bans, the most outrageous innovations make their way up within the bodies of the propaganda of our enemies.

"This time, instead of painting on transparent film, I used a tape completely black, on which I engraved images using a knife, a sewing needle and a razor blade. Subsequently, I have hand-colored with paints cellulosic ... Rejecting the visual method that makes a film a series of automatic and inexorable twenty-four frames per second, I scattered the opaque band that was before me, an image here, an image there, deliberately leaving most black Much of the film. "(Statement of Norman McLaren, quoted by Maurice Thiard in The Progress, May 5, 1955.)

"The Bible is the only writer who does not disappoint Cecil B. De Mille, " Potlatch. Newsletter of the French group of the International Lettrist , Number 21, June 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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BEEF FAT (June 30, 1955)

More than ever anxious to imitate in all things our unique contemporary and very impressed by their determination to boast each other, the collaborators of the journal bare lips are forming a jury to award a new prize every month: THE PRICE of Stupidity HUMAN.

This prize will be awarded after the fact to any man or woman who testified by any mode of expression or any action whatsoever a diligent effort to stay in the shade of intelligence.

The price is purely honorific, it is unclean for any transaction of a financial character.
The winners will be regularly offered to public favor through the press.

Already on June 1, 1955, meeting in solemn session, the jury decided unanimously to award the first Price of human stupidity, as tied to

MR MALRAUX
for all his work aesthetic and
MR KING BALDWIN
for her trip to Congo (Belgian).

"Beef Fat" Potlatch. Newsletter of the French group of the International Lettrist , Number 21, June 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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THE GLORY AND THE Bayeux (June 30, 1955)

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Jean-François Devay have crept into Paris-Presse a novel recently published by Editions Gallimard by a young author "... may well be ashamed of the work one of his buddies lettrists, we note that noise is likewise unfounded.

We hold the vast majority of "works" that currently appear in France actually quite "shameful". We have no relationship with people who do not think like us.

The display of such fanaticism seems to inspire the infinity of little lies that take place may be revenge?

"The Glory and the drooling, Potlatch. Newsletter of the French group of the International Lettrist , Number 21, June 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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SOUND OF THE ATMOSPHERE IN A LARGER BUILDING (J. Fillon, June 30, 1955)

From the original inspiration and simultaneously to the symphony primitive condition, the musical art has exploited all the veins instrumental.

But such major arts, music has managed to avoid empiricism: phases of transcription and imitation (the raging elements, wind, ocean, etc.., Noah's ark, and more recently the many pseudo-replicas of railway equipment), all jokes lost their salt the appearance of the first phonograph, because when the opportunity presented itself to hear real animal or a real locomotive, if we really wanted to hear, instead of trying to express a more or less confused.

The return to primitive, using some forms of jazz, completed the decadence; since Satie music survived as easy distraction, or as art. But the collapse came at a stage where we attended a race for new instruments, or most often a complication of existing ones. The artistic progression, rather than carried in the direction of the simultaneous creation, had been debased by poor intake tends to specialize.

should be the beginning of more subtle notions. The creation is the search topics accessible to new materials, that is to say, the discovery of unusual excuses. The composition lies in
further expressions of future, closer to the subjects, therefore, will express them more actively.

The development assume the acquisition of sounds unheard. There will be free to listen, because attention will no longer settle for understanding, but to capture the beauty so far remained tight. Usual successor entities musical sequences showcasing syncopated vibrations chosen for their speed, intensity, or timbre. Harmonic coherence and synchronization easier, are all factors that will eliminate parasites. But is it music? Such will be the question, novelty bringing with it every time that feeling of violation, of sacrilege - that is dead is sacred, but what is new is different to say, "that is pernicious.

No, it's more than music. The reign of the cornet was completed at the same time as the stonemason.

The difference between the arts increases confusion. So does does one distinguish the arts more strong, but an art teacher absorbing: the art of concrete. Similarly the new architecture will determine a plastic sound (by use of molecular wave) who identified with the decor. We then witness the shocking discovery of climates.

Art is no longer a beautiful thing made by means, but beautiful ways that make something occasionally.

Jacques Fillon, "From the sound environment in a broader construction, Potlatch. Newsletter of the French group of the International Lettrist , Number 21, June 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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THE GREAT WAY TO ROME (June 30, 1955)

interest and discussions raised almost everywhere by Federico Fellini's film Le Grand Chemin ( La Strada) are inconceivable in the context of a simultaneous extreme impoverishment of Cinema and intelligence critical of bourgeois intellectuals.

Some want to see a new neo-realism, as they say a new New French Review, others swoon with admiration by recognizing a sort of byproduct of mimicry of Chaplin in the character of Gelsomina, almost all are Blind repugnant about idealistic intentions of a film which is a glorification of material poverty and all the destitution, an invitation to resignation came particularly politically in Italy today where unemployment, low wages and that bitch of Pius XII have a combined action to create the serial character Zampano.

We know that idealism always leads to the Church, or the various substitutes that replace it in the superstructures of society. In the case of Fellini thing is so clear that he should himself without blushing: "I know such an idea might not be welcomed in an era where we prefer to give as a remedy for present suffering only abstract solutions, but after La Strada, I hope that once again the human and spiritual solutions will be well received, "said he to June 14 a correspondent of Figaro in Rome to prepare for the announcement repeated as the It Bidone , and he is not afraid to add: "... And the film ends with the presumption of another impending hell postmortem. I would like, after seeing this film, men are more prone to good. "

Evidence does not even an idiot like Robert Benayoun - already capable, in October 1954 to sign the leaflet Familiar Grand Truc by which his friends, so surreal, we draw the attention of police - of write to the No. 13 Positive :

"La Strada was taken by some for a Christian film, on the pretext that a scene going on in a convent. The laughter takes me to the mistake. "

Rideau.

"The Great Road that leads to Rome" Potlatch. Newsletter of the French group of the International Lettrist , Number 21, June 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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"MECHANISMS OF THE FASCINATION" (May 30, 1955)

May 10, Mohamed Dahou, inadvertently entering the Galerie Craven as they were presenting an exhibition of thirty abstract artists, was surprised to recognize in the audience a number of policemen bourgeois.

He immediately went out, not without having warned the people present.

" "The Mechanisms of fascination", " Potlatch. Newsletter of the French group of the International Lettrist , Number 20, May 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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BELGIUM EARLY AMERICA (L. Rankin, 30 May 1955)

This is not the JGS effervescent and unmannerly, nor sneaky players Observer, joined the BSP "because that is where we can do something," which may influence or only seek to warp the direction of a socialist party that is no longer the party of millions of buttocks of grocers, torn between the duplicate cooperative or union card, hope of a "permanent" and the pension to 75% of average earnings.

At May 1 rally in Liege, Andre Renard, national secretary of the FGTB - the analogue of TF in France, but with more flexibility and less omnipotence - appealed to the arsonist for the general strike June 11 to counter the Christian social event scheduled that day projects cons Collard, who violate, even slightly, to denominational education. This Fox, who sees himself as John Lewis, as the lesser Verviers wool or as microscopic industrial Lower Meuse give themselves airs in the Pierpont-Morgan has demonstrated his "revolutionism 'lounge during the strike of 1950, regarding the liquidation of the business Royal. In that time, speaking of the siege of the FGTB workers from the streets of Liege, he sent them home, assuring them of the departure of Leopold III, who has since lived in the palace of Laeken ... It is true that today the "school question" offers the advantage of operating the diversion of union strength and burying the infamous plan of nationalization, impossible to achieve under the government current socialist-liberal, but that might be, if put into effect, the prelude to an effective unity of action between the FGTB and the Christian Trade Unions. The school issue divides the labor forces in favor of the single most anti-clerical, liberal majority when the reaction is still a nice size dusk.

Leonard RANKINE, "Belgium, a small America," Potlatch. Newsletter of the French group of the International Lettrist , Number 20, May 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève Paris 5e.)

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ARCHITECTURE AND THE GAME (Debord, May 30, 1955)

Johan Huizinga in his Essay on the social function of the game states that "... culture, in its primitive stages, bears the features of a game, and develops the forms and in the atmosphere of the game. " The latent idealism of the author, and sociological assessment closely higher forms of the game, do not devalue that the first contribution is his work. It is futile, secondly, to seek our theories on architecture or the drift of other motives than the passion of the game

Both the spectacle of almost everything that happens in the world arouses our anger and our disgust, as we know, however, more and more, have fun all. Those who understand that we are here ironists are too simple. Life around us is made to obey absurd requirements and tends unconsciously to satisfy its real needs.

These needs and their achievements partial partial understandings, confirm all our hypotheses. A bar, for example, called "At World's End" , bordering one of the strongest units atmosphere of Paris (near the Mouffetard street-Tournefort-Lhomond), there is not by chance. The events that pertain to chance as we do not know the general laws of their class. We must work to awareness of the broader elements that define a situation, apart from commercial imperatives whose power will diminish forever.

What we want to architecture is an order pretty close to what we would do with his life. The great adventures, as they say, may not have the framework, and sources, as the beautiful neighborhoods. The concept of beautiful neighborhoods change.

Currently you can already taste the atmosphere of some desolate areas, as clean as shockingly adrift unsuitable habitat, where the system locks up, however, the working masses. Le Corbusier himself acknowledges, in Urbanism is a key that if we take into account the miserable anarchic individualism of construction in highly industrialized countries, "... underdevelopment can be as much the result of a superfluous than a shortage. " This remark can naturally turn against the neo-medieval proponent of the "common vertical."

Individuals have outlined very different, with apparently similar approaches, some architectures intentionally confusing, ranging from the famous castles of King Ludwig of Bavaria to the house of Hanover, the Dadaist Kurt Schwitters had, it seems pierced with tunnels and complicated by a forest of columns objects agglomerates. All these Baroque buildings within the character, that there is always clearly marked in tests of an art full, that would be completely decisive. In this regard, it is significant to note the relationship between Wagner and Ludwig of Bavaria, which was itself a synthesis of aesthetic look, the way most distressing and, after all, the most vain.

It should state clearly that if architectural events, which we are led to pay the price, in some way akin to naive art, we feel for something else, namely the realization of forces future discipline untapped economically inaccessible to the "vanguard". In the operation of market values oddly attached to most modes of expression of naivete, it is impossible not to recognize the display of a strictly reactionary mentality, rather akin to the social attitude of paternalism. More than ever, we believe that men deserve some regard must be able to answer everything.

Hazards and powers of planning, we're just now using, we will not stop us set a goal to participate, the fullest extent possible, their actual construction.

The provisional field free play activities, as Huizinga believes he can invoke as such in the "daily life" characterized by a sense of duty, we know that it is the single field, restricted by fraudulently taboos to claim sustainable real life. Behaviors that we like tend to establish all the conditions conducive to their full development. We now pass the playing of an arbitrary convention to a moral foundation.

Guy-Ernest Debord, "The Architecture and the game," Potlatch. Newsletter of the French group of the International Lettrist , Number 20, May 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)

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NIGHT EDITOR (May 30, 1955)

The leaflet Build yourself a small future situation without is currently displayed on the walls of Paris, mostly in places psychogeographic favorable.

Those of our correspondents who have enjoyed paste this leaflet can ask others in the drafting of Potlatch .

"Night Writing" Potlatch. Newsletter of the French group of the International Lettrist , Number 20, May 30, 1955 (Editor: M. Dahou, 32 rue de la Montagne-Geneviève, Paris 5e.)