[D-G] Chess Mate Erdogan with Anna Karina in Alphaville

[Johnatan Petterson]

why this information:
<< Erdogan se déchaîne aujourd'hui.
Il glorifie le nettoyage ethnique des Grecs en Anatolie, défie le monde
entier et prédit que la Grèce sera détruite". (PAS/AFP) >>

("Erdogan loses his tempers today.
He glorifies ethnic cleansing of Anotolian Greeks,
defies the entire world,
and predicts Greece 's doom")


why this information while known by the french press
is not communicated on french TV, Internet or Radio or Newspaper?

i think it is because there are
two strata
one ( pixel ) of information
one ( pixel ) of communication

while information relies heavily upon variable degrees of truth,
coming from everywhere on the planet and beyond,
French or (any) state arrays the informations into a Communication stratum
which shall ignore social networks, private informations, and the Other
States' Communications

Communication works a bit like molar
and information a bit like molecular


i wonder what is the status of this current email,
obviously molar opinions will judge such a statement
as a "non state" statement
and thus will treat it as negligible for their own
thinking and building molar thoughts processes out of it, or besides it.

there is some human need for information
on which Journalism is based as a virtuous discipline of rigor
to distribute crude information,
as one of the pillars of citizenship,
as the citizen needs information to build thinking and action

what is thus happening in France, or in other western states?

so that State (Media) Communication "treats" information
is that because the recipients of information
are no longer citizens who need
information to think and act
but a Town of Two Faces, of pure Spirits , Anna Karina and Eddie Constantine
in a Town a bit like Jean-Luc Godard's Alphaville Computer City
which treat information
like the Saint Paul Spirit treats flesh
(Saint Paul who saw in the Christian Spirit the "new Israel"
when "flesh" information was "below" while the source of
his religion, also of course information was the Jewish People
envisioned as the killer of the redeemer?)

Knowing that Notre - Dame de Paris has been
for a reason still undiscovered today
subject to the flames,
it is at least a terrible symbol
of implosion at the heart of the Catholic Empire,
two bridges away from the Quai d'Orsay
who plays Chess with the world,
for
example rescuing Yasser Arafat from the Libanese Civil War
helping him migrating to Carthage
and then later reinstalling him as Chief Negotiator
of the Public Oumma to
imprison the people of Israel under an everlasting Intifada
for the media distant pleasure of a parisian Face, the black hole
slowly disappearing from
the surface of our beloved Galaxy?

Oh, no! Do not despair, double Face,
there is a plane of Transcendance to be built by France by laying upon
Turkey
and such an information can inspire the
plane of Composition of Art
& Why?

Parce que la France rentre dans une période de « mini-moyen-âge » et comme
le montre Erwin Panofsky dans son « La Renaissance et ses avant-courriers
dans l’art d’Occident » les textes classiques (païens) gréco-romains
étaient parfois illustrés dans les enluminures comme des Sarazins, parce
qu’étrangers à la Chrétienté ; mais les personnages classiques comme
Mercure ou Junon aussi pouvaient être représentés comme des gentilshommes
mais « gothiques » : pourvu que l’on évitait de montrer l’idole perçue dans
l’art du classicisme qui allait dans le sens du pêché. La Renaissance au
contraire a découvert l’art de montrer les classiques comme une Utopie,
comme quelque chose de spirituel, un idéal inatteignable sauf en Esprit.
Les classiques étaient trop proches de leur source durant le moyen-âge,
mais après l’invention de la distance et de la perspective, les classiques
sont enfin rentrés dans l’Image, même si ils durent pour cela rester à
jamais circonscrits dans l’Art pour l’Art. Il est donc possible que le
langage cru d’Erdogan nuise à l’art post-perspectiviste de la communication
directe de Paris. Il faudra attendre que jeunesse se passe et qu’un peu de
distance sur ces événements nous survienne. La belle et adéquate Image
reste cependant évidemment à être trouvée, par chacun de nous sur Terre.

   -

& Why? Because France enters now a period of
"mini middle ages" and as shows Erwin Panofski
in his "*Renaissance and Renascences in Western Art* (1960)"
the Classics as texts (pagans) where Greco-Romans
came sometimes illustrated in illuminations as Sarazins,
because they were strangers to Christianity; yet the classics characters
like Mercurius and Juno could as well be represented
as gentlemen but yet in a "Gothic" fashion: in any case it be provided
one would avoid to show the Idol as perceived Classical art was in that
time
"pecato" (sin). Renaissance to the contrary has discovered
the art to show the Classics
as an Utopia, as something Spiritual,
an Ideal unreachable except in Spirit. The Classics were too close as a
source
during the Middle Ages, yet after the invention of
distance and perspective, the Classics finally
entered the Image, even if for that they had
to stay for ever constrained in Art
for Art sake. It is thus possible that the crude language of Erdogan
ruins the post-perspectivist
art of direct Communication of the Paris school of the Media.
One must wait for younglings to decant into adults and that
some dusty distance may happen onto those events in our gaze.
The beautiful and adequate Image remains After that nevertheless
obviously as one to be found, by
each and everyone of us,
those here whose soul belongs
truely to the magma (below information) planet Earth.

Cheers to anyone !
Johnatan Peterson