Cooltura: PLEASE TOUCH y otras ideas
ADÁL at Galería Fotográfica PL 900 at Casa Aboy
Calling all in and out of focus citizens and followers del morally y spiritually emerging not still-born hip hop phat fly creative booms that resonate and detonate in the brain every night and every day and I want to see your face at ADÁL’s sabroso sancocho, PLEASE TOUCH and other ideas to recreate, re-evaluate, reassess and untrain the programmed daze and go beyond all lógico explanation in our café con leche mango nation on Enero 8, 2009 at Galería Fotográfica PL 900 at Casa Aboy, Avenida Ponce de León, Mirarmar, Puerto Rico at 6 p.m.
Vamos a embelequiar, politizar, metamorfizar, commemorar y celebrar y cuando no aguantes mas Noemi Segarra will return your sanity before you leave the premises.
Surprise musical guests.
For más information: adal_maldonado@hotmail.com or www.casaaboy.org or Lisa Ladner at info@lisaladner.com
Cooltura: El Rev. Pedro Pietri Hand Awards Ceremonies on Friday, June 12, 2009
El Rev. Pedro Pietri Hand Awards honors the memory of Rev. Pedro Pietri, one of the most gifted poet/playwrights of the Twentieth Century and co-founder of the Nuyorican Poetry Movement, and was created to recognize significant artistic and cultural contributions by Puerto Rican/Nuyorican poets, artists, musicians and political activists working in their respective fields today.
This year El Rev. Pedro Pietri Hand Awards are being presented to Miriam Colón – actor and founder of the Puerto Rican Traveling Theater, José “Chegui” Torres – first Puerto Rican Light Heavyweight Champion of the World, journalist and best selling author of Sting like a bee, the biography of Muhammad Ali, Ntozake Shange – poet/playwright and author of For Colored Who Have Considered Suicide When the Rainbow’s Enuff, Carlos Ortíz – photographer and filmmaker and producer/director of Machito: A Latin Jazz Legacy, Dylcia Pagán – activist, filmmaker, writer, and artist, and Tato Laviera – poet/playwright and winner of the American Book Award for En Clave.
The evening will be hosted by Mariposa and Adál Maldonado with surprise guests and will feature performances by spoken word artists and poets, among them: Miguel Algarín, Ntozake Shange, Jesús Papoleto Meléndez, Tato Laviera, Mariposa, Speedo, Sheila Candelario, and Ricardo León Peña Villa. Musical performances will include Pepo Saavedra, Raquel Z. Rivera, Papote y el Concepto Cultural, and an award winning short film West Side Story Upside Down, Sideways, Backwards and Out of Focus by Adál Maldonado.
El Rev. Pedro Pietri Hand Award is an Object d' Art designed by Adál Maldonado with a custom made ring designed in collaboration with Olga Ayala. The ring has the logo of the Church of Our Mother of Tomatoes which was founded by Rev. Pedro who was officially ordained as a minister with the Ministries of Salvation in California. Rev. Pedro ministered to his flock by visiting prisons and insane asylums and bringing them salvation through his poetry and dark humor.
El Rev. Pedro Pietri Hand Awards presentation will take place on Friday, June 12, 2009 at Hunter College, Faculty Dining Room, West Building – 8th Floor, 68th Street at Lexington Avenue starting at 7 P.M.
El Rev. Pedro Pietri Hand Awards is supported in part by the Ford Foundation, JP Morgan Chase, the Andy Warhol Foundation for the Visual arts and Southwest Airlines through a grant from the NALAC Fund for the Arts.
Cooltura: Blueprints for a Nation and La Cápsula del Time to launch at El Centro de Estudios Puertorriqueños Library at Hunter College on Thursday, May 14, 2009
El Spirit Republic de Puerto Rico is a mythological nation/state or mundus imaginales founded by Eduardo Figueroa in 1976 and established in 1994 by Adál Maldonado and Rev. Pedro Pietri in the world of hard objects as a space of cultural resistance and political and social affirmation.
In Adál’s installation, Blueprints for a Nation, it is also an artistic expression rooted on linguistic traditions as well as photographic and interdisciplinary practices, and a spiritual sanctuary where its citizens are empowered through their own creative intentions. In Adal’s words, “The creation of a conceptual space in response to the United State government’s refusal to acknowledge the political, social and cultural needs of Puerto Ricans as we enter the 21st Century.”
In addition and on the same evening El Puerto Rican Embassy will launch a time capsule christened, La Cápsula del Time. This capsule will be sealed on that evening with the reading of a document created by Ambassador Sheila Candelario and made into a notarized legal document by Legal Counsel Diane Lutwak and will remain sealed for one hundred years until it is opened on May 14, 2109 by descendents of the Embassy and officers of El Centro de Estudios Puertorriqueños.
La Cápsula will contain artifacts created by Adál around the concept of El Puerto Rican Embassy. Texts and documents created by Rev. Pedro Pietri and some created in collaboration between Adál and Rev. Pedro Pietri and past and present members of El Puerto Rican Embassy such as Eduardo Figueroa, Jesús Papoleto Meléndez, Mariposa, Joe Pietri, Carmen Pietri-Díaz, Sheila Candelario, Ricardo Leon Peña Villa and Speedo, Rev. Pedro’s son. These officers and members of the Embassy will be present at the launching to offer anecdotes related to the artifacts and documents as they are placed in the time capsule.
In her document for this action, Ambassador Sheila Candelario states, "La Cápsula del Time is a time machine a prueba de balas, and, contrary to conventional wisdom, the first capsule to preserve that which is only constructed in our imaginations - in our DiaspoRican minds, securely preserved in the nitrogen of our jíbaro souls. La Cápsula preserves the past as it dissolves time, and contains the story of our nation as it is being written by future generations of ourselves".
Consistent with the academic setting and the desire to create an ongoing dialogue, a computer will be installed in the gallery linked to this blog www.lostidentities.vox.com especially designed for students and the general public to have access to and respond to the concepts put forth by the Blueprints installation and the Cápsula del Time action.
The following is Ambassador Sheila Candelario's entire document.
La Cápsula del Time: Sheila Candelario, 2009
Time capsules are, in essence, vessels of time travel. The time capsules we have come to know throughout history have deconstructed nostalgia as they’ve secured a present vision of self into the future eyes of humanity. El Spirit Republic de Puerto Rico’s Cápsula del Time is truly — not metaphorically — a time machine a prueba de balas, and, contrary to conventional wisdom, is the first capsule to preserve that which is only constructed in our imaginations, in our DiaspoRican minds, securely preserved in the nitrogen of our jíbaro souls. La Cápsula preserves the past as it dissolves time, and contains the story of our nation as it is being written by future generations of ourselves.
Following its launching on Mayo 14, 2009, at El Centro de Estudios Puertorriqueños at Hunter College in New York City, La Cápsula will be buried at El Centro’s Iron Mountain concealing that which exists in the parallel universe of our hybrid identity, a dimension that breathes victory beyond the realm of U.S. history. El Spirit Republic de Puerto Rico is an ever evolving nation kept alive in the vaults of each citizen’s imagination; a sovereign land where we gather after our travels from Guinea and Congo; from the Bering Strait; from the ports of Sevilla; from the sugarcane fields of Canarias. It is a land where our tongues are fused into the sounds and rhythms of the drum, into the Spanglish Language Sandwich and into Salsa. La Cápsula contains the blueprints of a sovereign nation where our identity travels as it evolves. This is the capsule concealing that, which has arrived and is still to come as it is conjured by our voices, by the images of our syncretic lineage of gods, goddesses, and our multichromatic skin.
This is the first Cápsula del Time whose contents are infinite cápsulas of laughter and irreverence, cápsulas of invisible verses, of words unborn. This is La Cápsula of our Spirit Republic de Puerto Rico, where the real map, with its true coordinates, is preserved for one hundred years. Aside from La Cápsula, these coordinates exist only in each diasporic citizen’s inner compass and are revealed in our journey as we reach our true sovereign sense of self. La Cápsula del Time will reveal the exact longitude and latitude of our nation at its proper time, but for now it will remain protected from those who cannot see in the dark, who cannot breathe underwater, and who foolishly believe that blue is really blue. This is La Cápsula guarded by our pioneer time travelers, by those who created armies of words that reconquered our borderlands in the streets of El Barrio and Loisaida, and showed us how to unmask the faceless. Eddie Figueroa, el Rev. Pedro Pietri and Dr. Willie are the eternal motorcycle insomniacs and helmeted pilots of La Cápsula del Time with the power to make any intruder who dares break its seal before 2109 a.d. self-combust.
La Cápsula is made of an unidentified element discovered by members of the Coconaut Space Program in their lunar expedition before NASA’s landing in 1969, and can withstand upwards of 2,192 degrees Fahrenheit. It is water-resistant, and guarantees the secure and safe landing of the selected memories contained within La Cápsula after its 100 year journey. For further reassurance El Puerto Rican Embassy’s La Cápsula del Time is registered in the International Time Capsule Society an organization created to maintain a global database of the location and contents of all existing time capsules.
We invite the public to this inauguration and also to join in a discourse on this very blog and offer your comments and opinions on the Blueprints for a Nation as well as La Cápsula del Time Project. Please continue reading below for information on the upcoming Rev. Pedro Pietri Awards Ceremonies; Phase II of the Blueprints Project and an Embassy Production.
Saludos mi gente! Adál Maldonado, 2009
Blueprints for a Nation and La Capsula del Time is supported in part by the Ford Foundation, JP Morgan Chase, the Andy Warhol Foundation for the Visual arts and Southwest Airlines through a grant from the NALAC Fund for the Arts.
"Do you think that national identity in Art is still relevant or achievable as we move toward a globalized society?"
Please post your comments...ADAL
Cooltura: Prohibido Olvidar
Thoughts on Rev. Pedro Pietri
The powerful perception of Pedro's poetry is the game between the lines; the third image conjured up by the placement of contradictions against each other. You begin to experience a seduction with your sense of orientation. You enter the space between the lines and travel to the back of a downtown train and imagine you are sitting in the front. The space dons a disguise before your eyes like an alluring creature. In this in-between space you imagine and experience the capture of a menacing rain falling upside down or the signing of the treaty of the never ending war between something and nothing. It is no self-deception when you become hostile in this free space to imagine an empty space that becomes torture. So it becomes no longer as it was before you entered. Before...you could see a friendly space. Now, you feel wrapped up and enclosed in a spider's web in which serious, thoughtful, grave, stern, somber, severe, and solemly humorous events are scattered around like dead insects. You have no wish to stay but you can't leave. In this space an unfriendly attitude begins to take shape towards everyone around you because of the fear of being dragged out from between the lines and into the vulnarable open where you are revealed. But this trance has a cathartic outcome. The hope, desire and yearning to reach a new untouched state where you are submerged in an inert walk up a down hill with his words and you look on his smile that has a dark edge to it but which is hope lying under your head, as a pillow, leaving you when you awake with an enduring smile. Prohibido Olvidar: Adal, 2009
Miguel Algarín: Founder of the Nuyorican Poets Cafe/From the book
Out of Focus Nuyoricans by ADÁL, published by Harvard University Press
Cooltura: Interview with an Out of Focus Nuyorican
Conversation between Doris Sommer and Adál Maldonado
Doris Sommer: Your early works are autobiographical, but they seem to also suggest a collective autobiography, as in the desenfocados. Do you want to elaborate?
Adál: Beginning with my first two books, The Evidence of Things not Seen, and Falling Eyelids - a foto-novela that tells the story of an artist who wakes up inside one of his own photographs and where his waking and dream world fuse and confuse - my work has been intentionally autobiographical. Later, Portraits of the Puerto Rican Experience and Mango Mambo were portrait series and interviews with accomplished Puerto Ricans concerned with the lack of Latino role models and their unrecognized substantial social and cultural contributions to American culture. Following these two documentary style projects I began to combine social and political concerns with a more conceptual way of making art and started a series of desenfocados or out of focus portraits of Nuyorican poets and artists whose lack of focus would be a metaphor for the marginalization they experience within the dominant society. My collaborator on El Puerto Rican Embassy Project and kindred spirit the late Rev. Pedro Pietri agreed to write a poem/prologue to accompany the Out of Focus Nuyoricans series and this book, published by Harvard University Press, is the result of that collaborative effort, that also makes part of the installations, Blueprints for a Nation and Blue Bananas on Fire at the Rockefeller Center for Latin American Studies and Casa de la Cultura, at Villa Victoria.
Doris Sommer: The connection between particular portraits and the collective suggests a link with politics and history. Do you see it this way too? What are the connections you’re consciously developing between aesthetics and society?
Adál: My auto-portraits is a space where I reflect on my personal existential worries. However, the Out of Focus Nuyorican series is directly concerned with the Nuyorican experience and the hybrid culture that’s resulted from our attempt to reconstruct our imperfect memories. Also, when Rev. Pedro and I founded El Puerto Rican Embassy we called for artists to challenge dominant political issues and stereotypes and to take risks that illuminated contemporary issues and cultural aesthetics. So, Blueprints and El Puerto Rican Embassy grew out of an historical/political concern and is also a metaphor for this cultural state of resistance. To illustrate this idea, I created the out of focus citizens of El Spirit Republic, El Puerto Rican Passport, the Coconaut Space Program, appointed out of focus Ambassadors and issued born again Nuyorican visas and baptismal certificates and introduced a dissident group called Los Bodega Bombers. Rev. Pedro Pietri wrote the Spanglish National Anthem, the Manifesto for El Puerto Rican Passport, and founded La Santa Iglesia de La Madre de los Tomates. The creation of this imaginal space – mundus imaginalis – is a creative response to Puerto Rico’s colonial connection to the United States and the consequences of that association: to think that one can posses any object or person is an illusion and this illusion is the cause of trouble that undermines our highest thoughts and deepest devotions because it sets up a relationship of power and dependency that is the opposite of an equal relationship. In the end, El Spirit Republic is a universe where we can exercise control over our personal product and be empowered through our creative intentions.
Doris Sommer: Who are some of the artists you’re responding to in your work, painters, writers, photographers, cineastas, etc?
Adál: Every group is conditioned by society and develops a collective memory. But I believe that an artist disengages from this collective view and reflects the world filtered through his unique personal experience. Initially, I drew from my historical, religious, social and cultural experiences as a jíbaro in Puerto Rico. Later, as a student at the San Francisco Art Institute I discovered the Dada Movement, the works of the Conceptualists inspired by Marcel Duchamp, the Magic Realists in Latin American Literature, European Filmmakers, and the Chicano Art Movement. After graduating from the Art Institute, I returned to New York City and rediscovered the Nuyorican Poets who had a parallel art movement to the Chicanos in the West Coast. The Nuyorican Poets used their hybrid experience to create the Spanglish Language Sanwhich and works that were rooted in theories of political and cultural resistance; their influence is still present in graffiti, hip-hop and salsa. So for me Blueprints is a culmination of all of these influences; jíbaro existentialism and irreverent Dada sensibilities fused with my historical experience and elements and practices found in an urban environment.
Doris Sommer: Your art has evolved from Photography to Installation Art. Is anything gained or lost in this medium transition?
Adál: Traditionally, photography has been seen as a two dimensional medium where one is limited to looking at a flat image on a wall. And there are purists who feel that what is seen through the viewfinder is sacred and to crop or otherwise enhance the photographic image is to distort and change reality. For me, however, Installation Art is a way to investigate many sides of my artistic personality and I combine different genres to create works that incorporate text, photography, performance, sculpture, audio recordings and video/film; and as an individual always looking to evolve artistically this way of making art is better suited to my personality.
Interview with an Out of Focus Nuyorican
Doris Sommer
Harvard University
Cooltura: Chapter 12 of Mambo Madness
by Adal Maldonado
He looks familiar, and smells of plantanos, she thinks, but lies there quiet and still. The lights flicker as if reality itself was flickering with every blink of her eyes. She waits to see what his next move will reveal. His lips move.
Cuando yo saldré de esta prisión [1]
Que me tortura/me tortura mi corazón
Si sigo así enloqueceré.
Ya las tumbas son crucifixión
Monotonía, monotonia, cruel dolor
Si sigo aquí enloqueceré.”
The Tralalas walk by and take up the coro.
De las tumbas quiere irse
No se cuando pasara
Las tumbas son pa’ los muertos
Y de muerto no tiene na.
He walks toward her. She looks at him cautiously.
“Who are you?”
“I’m Paco Kaos, a Mambolero operative and clave loving convicted serial mambo dancer.” He wiggles and wobbles out of control laughing and giggling. She rubs her eyes. He’s tall and thin with skin so delicate and light it brings out the darkness around his tired eyes.
“Am I asleep? I feel like I don’t belong here.”
“Okay…okay…okay…” he repeats mischievously, “but first answer me this. What’s the same about every place you’ve been?” He screams with glee and spins his skinny head inside his oversized collar.
“What? That some kind of mind bending paradox?”
He lowers his voice.
“Well, honestly, I don’t know either.”
“So…why’d you ask?”
“Well…It’s kind of going around, and, well...I thought you might clue me in.”
“Why, you’re the one at the club, you know me?”
“Sure, you’re Alelí who dances the world into being. You come to bring clave.”
“Why you’re looney, insane!”
Paco’s eyes shift from side to side, his spindly legs and body in a continuous circular motion.
“Okay...but does Alelí knows what goes on in the heart of Silencio, does she? They drain the music of young children knowing that their own dreams are numbered.”
“Oh, you’re definitely wacko”, she says, “you’re mad. Why would Silencio want to drain the soundtracks of virgin children?”
“Ahhh, beats me!” he says grinning maniacally and lowers his voice to almost a whisper. “But it reads in the last chapter of the sacred text El Septeto Mandamiento de la Sagrada Escritura words they don’t want your eyes to see.”
“Go on…”
“With the quantum speed of a rumba, clavelitis will spread towards Silencio City. Ecua Jey y Zapato Viejo will be hit with severe cases. Cu Bop City – once the beloved district of the Montuneros will be stricken with a magnitude 9.0 on the clave scale. Countless bodies that litter the streets will be carted off to mambo detection centers. What began as a minor outbreak will infect everything in its path and head straight for the heart of Silencio."
“Who…who are you?” She draws close, closer than she wants to and whispers. “And where are we?”
He jumps up and down laughing, mumbling loudly under his breath, waving his arms around like he’s swatting flies.
“You’re in Manicomiooooo!" He yells out stretching out the last vowel. Then he lowers his voice.
“The place we arrive at when we come to our senses.”
She’s afraid, and doesn’t know why. She sees the secure coastline receding farther and farther from sight.
“You’re here to be broken by being fixed.”
“What? Please make some sense.”
“Your soundtrack, it’s skipping, lyric drifting. You’re here for a tune up.”
Just then a shadow passes behind her and she hears faint foot steps coming closer. She turns to look and sees a pretty girl step out of the shadows. She seems to be floating there, serene, thinking of nothing at all, with big blue eyes fixed in the distance.
“Who’s that?" she whispers.
“Oh…that’s Guajira. She comes to bring love.”
Then another floats by and then another.
“And that?” She points. “And that?
“That’s Bomba she brings strength and Rumba who brings desire. But you bring clave, Alelí, and without clave the rhythm of the universe would come apart.”
Nothing fills the space but a stunned silence.
“Oh, my” he resumes “what’s the matter?”
“The matter…what’s the matter? I mean you can’t be serous about all this rumba-macumba stuff, right?
Paco pulls back.
“One last thing” he pauses then goes on “there are people here who pretend mambo madness. We are members of the Order of la Santa Clave and want you to know that we are with you and ready to strike from within.”
She turns to him wide-eyed and confused.
“What’s going on here, are all you people crazy?”
“No! That’s what I’ve been trying to tell you.”
A hectoring voice suddenly comes over the loudspeaker.
“Attention, detainees! The decision to gather all those infected with mambo madness in this Asylum has not been taken without careful consideration. The State is fully aware of its responsibilities to its citizens and hopes that those to whom this message is directed will realize that the present condition they find themselves in represents an act of solidarity with the State in order to restrict any further mambo contagion. So listen carefully, any attempts to escape or smuggle any mambo contaminated devices out of this facility and into the larger population of Silencio City will be punished with instant death. Thank you for your efforts in mambo prevention.”
The lights flicker and the darkness is filled with a silence that feels like it’s entering her body. Suddenly she realizes that it’s about to arrive; the moment when she’ll know everything and everything is decided forever. She looks up and around.
“What kind of place is this?”
To be continued....
Cooltura: Cada Cabeza es un Mundo
Lately I’ve been imagining a collective of one man in which all concerns are determined by an alliance of the unconscious. This society of one has under its direction twelve separate but equal personalities that have united under HUMO, at least apparently, but he is really guided by the most adepts of these personalities who make use of his influence to promote their views while none can say in what its excellence consists of and serve only to increase the general confusion and disorder of things. Then they resign him to the destruction of the opposing personalities and demand the most serious attention. "You can't be free if your mind is still in prison they say, undo the past to move into the future." In this way they amuse themselves by carefully tracing their efforts and effects to their causes through which they fancy to acquire knowledge and experience. Some adequate cause there must have been of this mighty mischief. When will we date its origin? To what shall we ascribe its rise and progress; in what historical abstract?
Cooltura: Meche en Doble Luna Llena
Bienvenidos al desierto de lo posible, al Nuevo Orden del
confesionario. El ruido mundano se esfumara a partir de este instante y
Meche se sublimara una vez mas en la fantasia, esta vez para ser
reconocida.
Cooltura: Interview with a Coconaut
Images and Text from the foto-novela "Coconauts in Space" by ADAL To view entire portfolio of fotos contact adal_maldonado@hotmail.com Log Entry IVX: Interview with a Coconaut - Stardate 05.20.21 Conducted by Lt. Commander Ricardo of Planeta Viera Lt. Commander Ricardo of Planeta Viera: According to universal dictionary interpretations trek, both noun and verb originally dealt with long difficult overland trips such as migrations or exploration. There has always been objections to either jocular or hyperbolic use of either to refer to shorter less arduous trips such as San Juan-New York or New York-San Juan, better yet, those that don’t involve pioneering in some sense. How did El Spirit Republic de Puerto Rico decide to get involved in a space program and in essence a “trek” to the cosmos. Commander Adál of Planeta Maldonado: As a boy in the countryside of El Spirit Republic I often heard the out of focus accounts of La Guagua Aerea. According to our out of focus jíbaro griots Puerto Ricans who’d migrated to the US mainland started finding air plane tickets under their pillows and began to travel frequently to the old country. They traveled in fat propeller airplanes that took off at midnight they nicknamed el ki ki ri ki because it left at midnight and arrived at sunrise - that had a pair of topos hanging from its control panel and a live trio that walked up and down the isles singing plenas, guarachas and boleros. They christened the airplane la guagua aerea and the experience was likened to a magic realist bus ride. I never tire of hearing that story. The story of the development of El Spirit Republic’s out of focus space program, however, is a far more serious account; no laughing matter. Following the creation of the out of focus state of El Spirit Republic - situated at 10 degrees latitude just west of Eden - Doctor Ocula an eccentric optometrist who during his student days had been a member of Los Bodega Bombers a para-military dissident group that set off explosive cans of Bustelo Coffee to protest against anything the out of focus state stood for, began a series of experiments to see what laid beyond the field of restricted sight in this out of focus world and developed an optic apparatus he called eye glasses. This new development allowed the wearer to bring blurred objects into focus. However, once reintroduced to the old world of hard objects that existed before El Spirit Republic was established the thin layer between the out of focus and the clear began to dissolve and conditions that plagued the old world - hunger, distrust, war, plague famine and expansionism - began to infiltrate El Spirit Republic. Information regarding these concealed experiments reached the ears of the ruling council and our physicists and scientists realized that an optic experiment like this could bring down our Republic before its time. Doctor Ocula was apprehended and his experiments in inter-optical perception and travel were terminated. But these events raised concerns that any territory material or imagined could be infiltrated and subverted. As a precaution, in case of any future acts of sabotage against our out of focus state of reality, the government established the Coconaut Space Program whose objective was to explore the cosmos for alternative out of focus life supporting territories in other solar systems. To date we have discovered and explored an out of focus dimension on Star Luna and established a settlement there named Villa Borroso in honor of San Borroso the Patron Saint of the out of focus. Lt. Commander Ricardo of Planeta Viera: What kind of scientific training is required to be a coconaut? What makes this outfit different from other space explorers that have come after? Commander Adál of Planeta Maldonado: It is said that in the old world of hard objects many Puerto Ricans were sent to mental institutions such as Bellevue Hospital and Cada Loco Con Su Tema Mental Institutions after experiencing accidental shifts in their fixed assemblage points - according to the mystical practices of native indigenous peoples each person has a fixed energy point where the coordinates of his fixed place in the world of hard objects is located. An accidental shift of this assemblage point can have disastrous consequences sending one hurling through inner or outer space with no way back - these unsuspecting individuals suddenly found themselves out of focus and started behaving accordingly but from the outside world where hard objects reside they seemed to be acting erratically and were sent to controlled environments to be with others suffering with similar perceived disorders. Factually, there were people at these asylums suffering from biological disorders that affected their minds but most had simply suffered a shift of their fixed assemblage point because their physical and mental circumstances were made intolerable. And while some rebelled and incited wars of liberation others found refuge by escaping from the reality of the world of hard objects into the dimension of the out of focus. After establishing the out of focus state of El Spirit Republic de Puerto Rico we learned the mystical lessons of our forefathers who coexisted peacefully and commuted between islands without moving an inch. Among these was the intentional dislocation and repositioning of our assemblage point from its fixed place for form changing, dreaming to wake up, interstellar system and inter-dimensional travel. We learned that although this condition was originally an escape from an oppressive reality it could be mastered and used to benefit our circumstances. Realizing that we’d discovered this knowledge and unable to break the code of its mysteries sent the rulers of the world of hard objects into a panic. These lessons are now applied at the Agapito Space Academy of El Spirit Republic de Puerto Rico where Coconauts endure strict physical preparation and are taught the mathematical lessons of astronomy and space travel. One formula continues to escape our research scientists, however; that is MACH to the 10th power space travel or how to travel faster than the speed of light squared. Under normal space travel conditions it would take 150,000 Earth years for a space craft using liquid rocket propulsion and traveling at 30,000 miles per second to reach another solar system. The only current option would be to enter a worm or black hole that act as corridors between galaxies. This can be a very risky business because black holes are stars that collapse into themselves and can crush whatever objects enter into its center. So we have integrated Assemblage Point Dislocation courses into the training. Through this practice and when confronted with these circumstances all members of the Coconaut Team can intentionally shift their assemblage points and instantly appear at the other side of any given galaxy. So the Academy produces Coconaut Cadets that are highly skilled in all the practical and mystical principles of the mind body and spirit. Lt. Commander Ricardo of Planeta Viera: Why is it so important for El Spirit Republic to leave an undistorted legacy? What motivates some societies to distort and revise histories and to erase from history accomplishments other than their own? Is history a lie of convenience? Commander Adál Lucian of Planeta Maldonado: Western Societies tend to privilege the written word as a form of documenting history. In some cases critical historical moments have been adjusted to meet the needs that the dominant class deems important to represent their historical trajectory. In this process distortions are inevitable and significant contributions are mistakenly or intentionally accredited incorrectly or not credited at all. In cases like this history can be a lie of convenience. As Coconaut Commander and visual artist I’ve imagined a society from where I can criticize this condition of history revisionism. As artists and poets if we were to draw from our historical experience we would assume a new kind of power. We would be empowered by the process of writing our own histories and in this way we’d insert ourselves into their psyche or consciousness and true place in world history. And in the process we would define our experiences more precisely giving meaning to our lives by leaving a true legacy of our history in which we’d be active agents. A United Secret Artists Log Entry Over y Pa’ Fuera
Cooltura: Adal's, Vase of Flowers Vibrating Below Its Fixed Point at IPCNYC
Adal's, "Vase of Flowers Vibrating Below It's Fixed Point" will be on exhibit at the International Print Center in New York City starting May 1, 2008.
In these new works Adal explores the concept of simultaneuos realities each occupying their own space in alternative dimensions vibrating at their own respective frequencies.
The International Print Center is located at 526 West 26 Street [in Chelsea] New York City.
Also check out Adal's bio at www.wikipedia.org/wiki/Adal_Maldonado
Stay tuned Familia
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