THE HUNDRED FLOWERS CAMPAIGN
The party has long stated that the Great Proletarian Cultural Revolution (GPCR) is the furthest advance of scientific progress in human history. In that MIM has developed the labor aristocracy thesis, (LA Thesis), that the first world workers are bribed by the rich with stolen wealth from the third world to further imperialism and as a class are enemies of the world, and that MIM has also developed the thesis that there is a real danger of a "nomenklatura", a bourgeoisie arising within the heart of the party itself, some argue that MIM is the highest
science of revolution ever.
Be that as it may: The MIM has not been able to catch up with the artistic production of the GPCR. to date on art.
Art, whether ancient, feudal, or bourgeois has always been about fake representations designed to manipulate the masses.
Revolutionary art turns this around and uses art to tell the truth of the people to the people. In a sense they already know it - revolutionary art just makes the truth more obvious. That is why we encourage all persyns to make art. We expose the disease to diagnose and cure it.
Our propaganda line turns fascists' guns against them. Our propaganda tactic is: "The Big Truth". You won't like the truth. It is ugly. It is sad. It is hard and cold. But only on that base can we hope to build something better.
We want true and authentic expressions of genuine emotions and struggles in the lives of the people: We want to expose the feelings and condemn the actions of the elites and their bootlicks as they grind out their cigarette in the face of the proletariat. We want metaphors allusions and similes which are always based in reality. Revolutionary art is real art for that reason. We want to show the suffering, the work, the life and struggle of the proletariat as they spit in they eye of their masters. We want full spectrum art ranging from grand narratives to
human interest. We want it all. We want it now.
In pursuit of the 100 flowers campaign all art shall be permitted except that which runs contrary to the cardinal principles of the people's party, MIM. Deviationist lines can only be exposed and combatted in that way. The party is the best there is but can always get better and is not infallible. The struggle over art refines and improves art.
We look forward to the day when we can make beautiful art, the day when we, the most sensitive, the most sensuous, can tell you stories about sex and love and not have to constantly hammer home the starvation, suffering and death that are the daily lot of the third world. Our inkwells are full of blood and tears. We wish it were otherwise. We want the day when our revenge will be the laughter of our children. We are as far from that day as a man in a cave is from the moon. We canot reach it in the world as it is. So, we must change that world.
Painters and poets, dramatists and dancers, sculptors and singers take up your tools. Your art is the best weapon to stop war!
TASKS
Since so much art was produced by the USSR and China a some of our task is going to go to just documenting and sorting out what has already been done.
GUIDELINES
Art Guides: Our first goal is art with the correct line. Our second goal is art tht is technically good. Mao was clear about this in Talks at the Yenan Forum.
Recycling/Mashup Our technical style should be mashups. Imperialism spews out tons of bad boring art with no message or a message of apathetic consumerism. Subvert, subtextualize and resex that bad boring art.
OUR ENEMIES LI(N)ES
Futurism
There are so many enemy lines that to attach any one of them requiresa web page. Here I adress futurism, the fascist art line, because it is the technically best and thus most damaging of the enemy lines. Futurism is whack. The world doesn't have to have wars. But those fascist bastard stick us with them all the time. Counterattacks on futurism should aim either to undermine futurism by parody or to make Maoist futurist art that says to the futurists -- suppose you're right and it's all a glorious blood fest. We will win that. One place we can agree with
the futurists though is that art is part of a total-war between the fascho-imperialists and we communist -- we just know we will win.
The next most damaging enemy line is bourgeois individualism and relativism. The enemy tries to con us into believing that "great" art is about abstraction or individualism and is all relative and incomprehensible to the masses anyway. All those lines are bullshit. We should fuck them over. Art has to always be given a context -- even if the context is an absence of context to provoke thought. Absent contexts are ok if the Maoist message is clear enough to stand on its own. But if the message is subtle or could "cut both ways" then it needs a text.
We cannot rely on our subtexts. Our enemies are stupid and they try to make and keep our friends ignorant.
Mashups our our best tactic because of the amount of bad bourgeois raw materials:
Video artists: Our greatest video artist is Sergei Eisenstein. Jean Luc Godard also gets favorable reviews by MIM. Among the bourgeois enemies, Kubrick is visually briliant and Coppola is not bad. Coppola's stories are stupid but his imaging is brilliant. George Lucas's early work was good but he's been totally corrupted by capitalism. I find Spielberg sucky. Yes, most of these people are jews, so what.
RESOURCES
For video clips I recommend http://www.altavista.com/video/
For audio clips I likewise recommend target="new">http://www.altavista.com/audio/default
With work you can download from youtube.com and video.google.com but those are tough to edit because they are in a semi-secret .flv format.
Animated gifs http://community.livejournal.com/animgifscraper/
Coffee cup firestarts is great but google won't let you upload the results.
Art Minister: mousnonya@yahoo.com
The party has long stated that the Great Proletarian Cultural Revolution (GPCR) is the furthest advance of scientific progress in human history. In that MIM has developed the labor aristocracy thesis, (LA Thesis), that the first world workers are bribed by the rich with stolen wealth from the third world to further imperialism and as a class are enemies of the world, and that MIM has also developed the thesis that there is a real danger of a "nomenklatura", a bourgeoisie arising within the heart of the party itself, some argue that MIM is the highest
science of revolution ever.
Be that as it may: The MIM has not been able to catch up with the artistic production of the GPCR. to date on art.
Art, whether ancient, feudal, or bourgeois has always been about fake representations designed to manipulate the masses.
Revolutionary art turns this around and uses art to tell the truth of the people to the people. In a sense they already know it - revolutionary art just makes the truth more obvious. That is why we encourage all persyns to make art. We expose the disease to diagnose and cure it.
Our propaganda line turns fascists' guns against them. Our propaganda tactic is: "The Big Truth". You won't like the truth. It is ugly. It is sad. It is hard and cold. But only on that base can we hope to build something better.
We want true and authentic expressions of genuine emotions and struggles in the lives of the people: We want to expose the feelings and condemn the actions of the elites and their bootlicks as they grind out their cigarette in the face of the proletariat. We want metaphors allusions and similes which are always based in reality. Revolutionary art is real art for that reason. We want to show the suffering, the work, the life and struggle of the proletariat as they spit in they eye of their masters. We want full spectrum art ranging from grand narratives to
human interest. We want it all. We want it now.
In pursuit of the 100 flowers campaign all art shall be permitted except that which runs contrary to the cardinal principles of the people's party, MIM. Deviationist lines can only be exposed and combatted in that way. The party is the best there is but can always get better and is not infallible. The struggle over art refines and improves art.
We look forward to the day when we can make beautiful art, the day when we, the most sensitive, the most sensuous, can tell you stories about sex and love and not have to constantly hammer home the starvation, suffering and death that are the daily lot of the third world. Our inkwells are full of blood and tears. We wish it were otherwise. We want the day when our revenge will be the laughter of our children. We are as far from that day as a man in a cave is from the moon. We canot reach it in the world as it is. So, we must change that world.
Painters and poets, dramatists and dancers, sculptors and singers take up your tools. Your art is the best weapon to stop war!
TASKS
Since so much art was produced by the USSR and China a some of our task is going to go to just documenting and sorting out what has already been done.
GUIDELINES
Art Guides: Our first goal is art with the correct line. Our second goal is art tht is technically good. Mao was clear about this in Talks at the Yenan Forum.
Recycling/Mashup Our technical style should be mashups. Imperialism spews out tons of bad boring art with no message or a message of apathetic consumerism. Subvert, subtextualize and resex that bad boring art.
OUR ENEMIES LI(N)ES
Futurism
There are so many enemy lines that to attach any one of them requiresa web page. Here I adress futurism, the fascist art line, because it is the technically best and thus most damaging of the enemy lines. Futurism is whack. The world doesn't have to have wars. But those fascist bastard stick us with them all the time. Counterattacks on futurism should aim either to undermine futurism by parody or to make Maoist futurist art that says to the futurists -- suppose you're right and it's all a glorious blood fest. We will win that. One place we can agree with
the futurists though is that art is part of a total-war between the fascho-imperialists and we communist -- we just know we will win.
The next most damaging enemy line is bourgeois individualism and relativism. The enemy tries to con us into believing that "great" art is about abstraction or individualism and is all relative and incomprehensible to the masses anyway. All those lines are bullshit. We should fuck them over. Art has to always be given a context -- even if the context is an absence of context to provoke thought. Absent contexts are ok if the Maoist message is clear enough to stand on its own. But if the message is subtle or could "cut both ways" then it needs a text.
We cannot rely on our subtexts. Our enemies are stupid and they try to make and keep our friends ignorant.
Mashups our our best tactic because of the amount of bad bourgeois raw materials:
Video artists: Our greatest video artist is Sergei Eisenstein. Jean Luc Godard also gets favorable reviews by MIM. Among the bourgeois enemies, Kubrick is visually briliant and Coppola is not bad. Coppola's stories are stupid but his imaging is brilliant. George Lucas's early work was good but he's been totally corrupted by capitalism. I find Spielberg sucky. Yes, most of these people are jews, so what.
RESOURCES
For video clips I recommend http://www.altavista.com/video/
For audio clips I likewise recommend target="new">http://www.altavista.com/audio/default
With work you can download from youtube.com and video.google.com but those are tough to edit because they are in a semi-secret .flv format.
Animated gifs http://community.livejournal.com/animgifscraper/
Coffee cup firestarts is great but google won't let you upload the results.
Art Minister: mousnonya@yahoo.com
posted by Maoist Internationalist Movement at 5:37 AM
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