Table Politics

Sometimes a delirious image can be more real than all the pretended truths. Thus, is not politics truly like a table football in which invisible hands amuse themselves manipulating clumsy marionettes that desperately strive to kick the capital, trying to reach the red goal?

Image after Michelangelo's Creazione di Adamo (The Creation of Adam, Sistine Chapel, 1511-1512) [pd], G-20 Seoul summit (2010) [ua-fu/fd] and Garlando F-1 Football Table [fu/fd].


Make Your Own Color Code!

We denounced the double standard prevailing in the system, the lie and the hypocrisy on which it is based. But perhaps the most alarming is the growing cynicism, the way this double standard is increasingly accepted without resistance, as an inevitable condition, as the more or less explicit rules of the game, that this double standard must be accepted in any case.

Image after United States Army's images of Abu Ghraib (2004) [pd].


Eagles of Peace

Our everyday objects are inscribed with the symbols of animal predation, of the law of the strongest. It is known that white doves symbolize peace; but this peace is rather an apparent and tense calman imminent threat, which would make doves run away.

Image after United States one-dollar bill (detail, 1957) [ua-fu/fd] and Heinz Hoyer and Sneschana Russewa-Hoyer's German one-euro coin [fu/fd].

Bilderberg Adyton

As the adyton of Greek temples --the central room inaccessible to the public in which the more secret events happened--, our so-called "democracies" contain spaces in the shadow, secret areas about which everyone, including our public representatives, keep quiet.

Image after James Stuart and Nicholas Revett's The Antiquities of Athens (1787) [pd] and M. M. Minderhoud's Bilderberg Hotel [fu/fd].


Moral Weightlifting

One of the basic strategies for debunking the transcendence of morality, whether Christian or capitalist, is to understand that it ultimately responds to a materialistic logic. Morality can be interpreted as a sort of encounter of forces, or even weights. Thus, it is not surprising that the symbol which represents the Justice is the weighing scales. We would even dare to say that good and evil weigh the same, what in essence is nothing more than acknowledging that good and evil are simply two opposing tendencies that need to be balanced in any statu quo.

Thus, the role of religious authorities with respect to these moral distributions is to stage them, counterbalance them, perform a media spectacle showing their strength, almost superhuman, in order to maintain this
equilibrium reasonably stable. In this sense, we could say, with a touch of irony, that the task of these highest religious figures is very similar to that of a weightlifter. 

After Télam's Pope Benedict XVI [fu/fd].


Hortus Conclusus

There is a close relationship between the myth of the hortus conclusus ('enclosed garden') and the false rhetoric of sustainability: our cities, our neighborhoods, our buildings will be sustainable to the extent we are able to exclude from the sustainability calculation the impure elements, to the extent we are able to enclose properly these virginal spaces so that nothing may disturb them.

Image after Kölner Maler um 1430's Maria im Rosenhaag mit Heiligen und Stiftern (Rose Mary in the Hague with Saints and Donors, c. 1420-30) [pd], Bordo Poniente garbage dump (Mexico D. F.) [ua-fu/fd] and others [ua-fu/fd].

The Golden Runaway

We tend to think of myths as fixed cultural heritages of the past, which would allow us to better understand the contexts in which these myths were formulated. Yet the true power of myths is to use them to understand our present. Or rather, our present in the context of the continuity of time. All erudite studies of myths are useful tools to know them, but they miss this fundamental point. Myths do not talk of the past but of the present. Myths are what our ancestors want us to know. One needs only wanting to listen.


At both ends of the fictitious line of time, projecting itself into the past, on the one hand, and into the future, on the other hand, the myth of the golden age meets its symmetric counterpart in the myth of progress. In this way, endlessly projecting itself into an unachievable ideal, man runs away from the unique thing he can share with man: the present. 

Image after Lucas Cranach the Elder's The Golden Age (c. 1530) [pd], boat carrying immigrants in Canary Islands [ua-fu/fd] and barrier in Greek-Turkish border [ua-fu/fd].


The Dehumanization of the Swing

In the Art History the stylistic analysis has dominated over the thematic one. The stylistic analysis, as the name suggests, brings together works from certain geographical areas and historical periods, with common formal characteristics, in order to define a style. And even though this type of analysis seeks to account for the political, religious, economic and social context of the works, the fact is that its emphasis is put in the morphology. The styles follow each other and "evolve" in an almost Darwinian sense, as the "evolution" of forms or structures that adapt to the changing circumstances.

Against this stylistic paradigm, the thematic one is focused on the background of the works, on what-they-address, and establishes connections between them based on this thematic affiliation. This thematic paradigm tries to identify something like underground currents which would traverse the above-mentioned geographical, temporal and stylistic categories; that is to say, the morphological categories. This is important because that means paying attention to what underlies the forms of the works, that means being interested in the content rather than in the form, in the meaning. In fact the notion of "dehumanization of art" by Ortega y Gasset (The Dehumanization of Art and Other Essays on Art, Culture and Literature, 1925) could be similarly understood as the consequence for art of having gradually disregarded its content, its roots, its thematic heritage, getting lost in the labyrinth of forms.

From this t
hematic paradigm, we propose to confront artworks from different areas, periods and styles, and that however share --or could share-- a theme. In this case we have chosen the theme of the swing. This analysis allows to confirm to what extent the most recent works on this subject have lost wealth or intensity with respect to older works, how they are interested now in shallower, more formal, more abstractmore "dehumanized" questions.

Image after Penelope Painter's skyphos (c. 450 b.C.) [pd], Jean-Honoré Fragonard's L'Escarpolette (The Swing, c. 1767) [pd] and Juan Navarro Baldeweg's Pieza de columpio (Swing Piece, 1976) [fu/fd].


Ne Travaillez Jamais (Never Work)

Without any doubt, the pending issue of contemporary urbanism is Luddism, if we consider that the approach that has been imposed from the twentieth century --Functionalism or Rationalism-- was the diametrically opposed. The Situationists were those who got closer to this ludic and anti-functionalist character, whose proposals were developed in the context of May 1968. But the fact that their ideas were hardly materialized shows to what extent these were visionary and still have potential. Perhaps the time had not yet come for them. The famous Guy Debord's graffiti Ne travaillez jamais ('Never Work') symbolizes an ideology which intended especially to call into question the functionalist and productivist ideology that is at the heart of capitalism.

But a possible Luddite approach in architecture and urbanism would consist, not so much in designing buildings and towns for a ludic, enjoyable or
pleasurable use, what would continue being a functionalist and final method, but rather, in transforming the architectural practice into a play.

Image after A. Vuillemin's Plan of Paris (1892) [pd].


Los desastres de la guerra (The Disasters of War)

It seems obvious to remember that the symbol of the cross alludes to a sacrifice, political rather than religious. That committed by the Romans to appease a local minority led by Jesus Christ, who called into question the dominance of the Empire in the region. And while it might be thought that its religious dimension was acquired later, once this rebel became the founder of Christianity, the truth is that this sacrifice and sacrifices in general are already by their very essence political and religious at the same time (René Girard, I See Satan Fall Like Lightning, 1999). The Christian crucifixion is the sacrifice par excellence of this religion, but also the symbol par excellence, for all sacrifices involve some kind of symbolism.

In fact, we consider that the symbol par excellence, the one which provides the paradigm to understand the rest of them, is precisely the sacrificial symbol. This amounts to saying that the function of symbols is to signify, more or less explicitly, the violence that constitutes the sacrifice. In this sense the symbol is political. But as we said it is also religious. The more the symbol gets close to religion, particularly in highly institutionalized religions such as Christianity, the more it tends to mask the violence, the more a stylized symbol is. Religion cannot be understood without violence, but its violence is quite sublimated, veiled. According to this logic, the basic strategy to deconstruct symbols, necessarily involves revealing such violence, making it explicit.

Image after Francisco de Goya's Los desastres de la guerra (The Disasters of War, 1810-1815) [pd] and Pedro Muguruza y Diego Méndez's Valle de los Caídos (Valley of the Fallen, 1940-1958) [fu/fd].



No doubt that the classical orders are derived from sacrificial rituals. This is clear in the case of the Caryatids or the Persians, but this genalogy can also be traced in the case of the most stylized orders: Doric, Ionic and Corinthean (George Hersey, The Lost Meaning of Classical Architecture, 1988). As a form of manifestation of power, it is understandable that architecture appeals, in a more or less veiled way, to the "threat" of violence which sustains it (Walter Benjamin, Critique of Violence, 1921). This distance between the symbol and what it suggests can be directly related to the notion of hypocrisy that also characterizes power: to say something but to mean anything else; the architectural form respects the tradition, regardless of the content that adapt to the circumstances. Thus, democracies use styles inherited from the Classical Greece --the paradigm, even if mythicized, for this form of power--, while the real content, the real state tends increasingly to a dictatorship, de facto or de jure.

Image after James Stuart and Nicholas Revett's The Antiquities of Athens (1787) [pd] and others [ua-fu/fd].


Honour your Father

Magic and science, rather than being one the opposite of the other, share a fundamental purpose: to dominate, or at least influence as much as possible, the nature (Claude Lévi-Strauss, The Savage Mind, 1962). In this sense, science is inseparable from technology, for, in the same way that magic rituals, they act towards nature in order to force it to respond to the human desires. In other words, modern technology is not only calculation and optimization, but also a form of ritual and symbolism.

Given this common intention of magic, science and technology, we can observe what have in common phenomena apparently as remote as are primitive earth fertility cults and modern technology. In the framework of fertility rites, the collective orgy, the liberation of the desires repressed during the profane time, should propitiate a corresponding unleashing of the earth promiscuity, the plethora, the waste of life. In a similar way, the recycling that the
Western nations made from Egyptian ​​solar obelisks, can be interpreted as the technological erection of phallic symbols. Or, at the other end of the scientific field, that of pharmaceutics, the latest remedies to improve human fertility as Viagra could be also interpreted as new forms of apotropaic rituals.

Image after Carlo Fontana/Alessandro Specchi's Erecting the Ancient Egyptian Obelisk in St. Peter's Square, Rome [pd], Giovanni Paolo Panini's Departure of the Duc de Choiseul from the Piazza di San Pietro (1754) [pd] and others [ua-fu/fd].


Philosophical and Artistic Statement

"... l’activité paranoïaque se sert toujours de matériaux contrôlables et reconnaissables. Il suffit que le délire d'interprétation soit arrivé à relier le sens des images des tableaux hétérogènes qui couvrent un mur, pour que déjà personne ne puisse nier l'existence réelle de ce lien. La paranoïa se sert de monde extérieur pour faire valoir l'idée obsédante, avec la troublante particularité de rendre valable la réalité de cette idée pour les autres." (... paranoid activity always makes use of verifiable, recognizable materials. It is enough for someone in the grip of an interpretive delirium to link the meanings of heterogeneous paintings that happen to hang on the same wall for the real existence of such a link to become undeniable. Paranoia uses the external world to validate an obsessive idea, with the troubling result of validating its reality to others.)
Salvador Dalí, "L'Âne Pourri" (The Rotten Ass), Le Surréalisme au service de la révolution, 1, 1930.

"On peut concevoir l'expérience vécue paranoïaque et la conception du monde qu'elle engendre, comme une syntaxe originale, qui contribue à affirmer, par les liens de compréhension qui lui sont propres, la communauté humaine." (The paranoid experience and the conception of the world it creates can be conceived as an original syntax which contributes to reinforce, through its own understanding bonds, the human community.)
Jacques Lacan, "Le problème du style et la conception psychiatrique des formes paranoïaques de l'expérience" (The Problem of Style and the Psychiatric Conception of Paranoiac Forms of Experience), Minotaure, 1, 1933.

"… il me semble que la tache politique actuelle dans une société comme la nôtre, c'est de critiquer le jeu des institutions apparemment les plus neutres et les plus indépendants, de les critiquer, de les attaquer de telle manière que la violence politique qui s'exerçait obscurément en elles soit démasquée et pour qu'on puisse lutter contre elles." (... it seems to me that the real political task in a society such as ours is to criticise the workings of institutions, which appear to be both neutral and independent; to criticise and attack them in such a manner that the political violence which has always exercised itself obscurely through them will be unmasked, so that one can fight against them.)
Michel Foucault, "Human Nature: Justice versus Power", 1971.

Using the concept of "heterotopia" formulated by Michel Foucault and the delirium as a method to criticize and recreate reality, Delirious Heterotopias is a transdisciplinary project halfway between the research, the artistic practice and the activism, based on the power of images. On the one hand, we think that the heterotopia, relating ultimately to the mythical crisis, is a key concept to understand our world, in which these states of exception, from Las Vegas to Guantanamo, are increasingly existing and persistent. On the other hand, our reality seems to be more and more delirious, and categories such as logic, reason or common sense seem to have less and less sense, if not just as smokescreens of other intentions. Thus, paradoxically, the most reasonable way to confront this situation might be to resort to the same delirious logic.

Therefore Delirious Heterotopias uses the power of images to question, but also and at the same time, recreate our reality. For this purpose we select graphic citations, in the form of heterotopias, and combine them through a delirious method and the technique of photomontage. In fact, this project is transdisciplinary and based on collages of apparently heterogeneous images in order to implicitly question the dominant thought at its very core: its epistemological structures. For these elections and statuses ultimately respond to strategies of domination of nature, including the human race, and as Paul Feyerabend showed (Against Method, 1975), are in fact "incommensurable" with respect to other forms of knowledge. Thus one of the strategies of this montages is to bring together phenomena belonging to different spheres, registers or disciplinary fields, thereby trying to show, not only that these phenomena might be more related than previously thought, but also that these divisions are contingent and respond to interests less noble than those confessed.

Photographic images and their time montages, have become the privileged means to the construction of contemporary reality, and as Susan Sontag stated (On Photography, 1977), that is often achieved through the disintegration of reality and the subsequent reconstruction through the juxtaposition of these disjointed fragments. Then again following a counter-strategy based on the same mechanisms we try to challenge, Delirious Heterotopias triggers, as the Surrealist did, the "meeting on a dissecting-table of a sewing-machine and an umbrella", which might be a revealing way of reintegration, and therefore of recreation of reality.

Moreover, contrary to what the dominant discourse intends us to believe, images are rarely transparent with respect to reality; they always imply some degree of opacity or concealment, that is to say, of representation. This is the way, we claim, power and institutions work, namely masking the violence which ultimately supports them; a violence that we try to unveil. Since we assume that power continues to function on the basis of mythical-ritual structures of a theatrical or representational character. And among them, following René Girard (Violence and the Sacred, 1972), "sacrificial mechanisms" as well as their public celebrations would occupy a prominent place.

Images thus play a key role in the construction of reality, or in other words, in the representation of power. A re-presentation which is nothing but a new presentation of a previous representation, and so in an endless series. Our aim is not therefore to demonstrate anything about reality, about this hypothetical original presentation which would be at the base of the series, but only to show how the show works. And at the same time suggest alternatives, no less illusory.


Pedro Bustamante

Soy arquitecto de formación pero autodidacta todoterreno por vocación. Lector empedernido, investigador obsesivo, ensayista apasionado, artista delirante, viajero sabático, políglota simultáneo, especialista en el todo, homme à tout faire. Conservador radical, anticapitalista y anticomunista, creyente herético, indeciso convencido, incorrectamente político. Todo ello en régimen de rigurosa independencia, lo que hace de mí alguien difícil de encuadrar. Porque en estos tiempos en que el sistema está podrido hasta los tuétanos, es prácticamente imposible hacer algo de interés desde los marcos oficiales, institucionales, académicos, corporativos e incluso activistas. Conocí la academia por dentro y comprendí que es un aparato de poder más, solo que más sutil y refinado. Porque se ejerce a través de la perversión del saber, de la hipocresía y el terrorismo sublimado. Los académicos son otra de las castas sacerdotales hollycapitalistas de hoy.

He hecho muchas cosas diferentes en mi vida y en algunas he tenido eso que el sistema llama "éxito". En efecto, conocí la realidad del mito del "éxito". Demasiado éxito y demasiado pronto. Entonces comprendí que el poder lleva implícita la corrupción, que cuanto más se asciende en la escala de poder más complicidad hay que tener con la criminalidad y la impunidad inherentes a él, con su perversión y su sadomasoquismo estructurales. Esta oportunidad que me regaló la vida me sirvió para saber que no pertenecía a ese mundo, que todo lo que está atravesado por el éxito y el dinero está podrido y lo desprecio. Desde entonces me dedico a tratar de comprender cómo funciona este mundo delirante, y transmitirlo, en la medida de mis posibilidades, a los interesados. Pensando sobre todo en llegar a la gente común. Invirtiendo en lo posible la transferencia permanente de energía, riqueza, recursos, dedicación, esfuerzo, amor, moralidad, naturalidad, espontaneidad, buena voluntad, etc., que se produce de "abajo" a "arriba" en el sistema global de dominación. Mediante el pensamiento y la creación, la investigación teórica y la práctica, la escritura y el arte, la conspiración y el rigor.

En mi primer libro, El imperio de la ficción: Capitalismo y sacrificios hollywoodenses (2015), he tratado de mostrar cómo funciona el mundo en términos generales, pero también, profundos. Para ello, vengo desarrollando una investigación que pretende explicar cómo operan las sociedades humanas, desde un punto de vista integral, tanto en lo político como en lo económico, lo social como lo moral. Y por supuesto, lo religioso. La idea es mostrar que lo religioso está en la base de todos los fenómenos políticos, económicos y sociales. También en el capitalismo, especialmente en el tardío, que yo denomino hollycapitalismo. Porque el sistema no se puede comprender hoy al margen de su dimensión religiosa y hollywoodense. Porque esta dimensión es, en última instancia, holy, sagrada.

En mi segundo libro, Sacrificios y hierogamias: La violencia y el goce en el escenario del poder (1 y 2) (2016) he formulado con más detalle lo que denomino la mecánica hierogámico-sacrificial. Lo que esta obra trata de mostrar es que toda la realidad social remite a esta mecánica, en cuyo centro está el ritual de sexo y de sangre. El primer tomo se ocupa de lo que nos parece que son los fundamentos de lo social: la relación entre naturaleza y cultura, la distinción entre prohibición y transgresión, la institución de convenciones morales, todo ello en el marco de la mecánica citada, en la que hierogamias y sacrificios son protagonistas. El segundo tomo se dedica a mostrar que todas las instituciones sociales --la ley, la monarquía, el Estado, el lenguaje-- remiten a esta mecánica hierogámico-sacrificial, sin la que no se pueden comprender en toda su profundidad y ambivalencia.

Mi tercer libro, En el nombre del Falo y del Ano y de la Matriz transhumana: El sacrificio de la maternidad y el nacimiento del infrahumano (2017), trata de mostrar el trasfondo del proceso de transhumanización que hoy padecemos. Nos parece que la clave para comprender esta tremenda transformación del humano está en que va a suponer la extinción de la maternidad natural y su sustitución por una maternidad artificial. Toda la locura del género que hoy invade todo el ámbito público hay que entenderla en este sentido. Pero todo ello, además, remite a las prácticas retorcidas de las sociedades secretas duras, que en definitiva se pueden resumir en tres nociones: falocracia, psicopatocracia y ocultocracia.

Mi cuarto libro, Androginización vs. Heteroarcado: Ocultismo y programación mental mediante trauma en la agenda de género-transhumanista (2018), desarrolla algunos de los temas tratados en el libro anterior. Es un acercamiento al tema de las teorías de género desde una perspectiva muy diferente a la dominante, pero también a la de los ámbitos alternativos que se oponen a la ideología de género. Lo que tratamos de hacer es mostrar el papel central que juega en toda esta ingeniería social la androginización, como un fenómeno muy cercano al de la programación mental mediante trauma. Lo que a su vez supone comprender el papel central que desempeña el ocultismo, o para ser más concretos, el satanismo-luciferismo, que son dos caras de la misma moneda, en cuyo corazón está la androginización.


Androginización vs. Heteroarcado: Ocultismo y programación mental mediante trauma en la agenda de género-transhumanista, 2018, ediciones_senoicide/Amazon. https://www.amazon.es/Androginizacion-vs-Heteroarcado-programacion-genero-transhumanista/dp/1720711712/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1557082043&sr=1-2  

En el nombre del Falo y del Ano y de la Matriz transhumana: El sacrificio de la maternidad y el nacimiento del infrahumano, 2017, ediciones_senoicide/Amazon. https://www.amazon.es/nombre-del-Falo-Matriz-transhumana/dp/1978369085/ref=pd_sim_14_1?_encoding=UTF8&psc=1&refRID=Q1R00EGVEAD97DCY9M1M

Sacrificios y hierogamias: La violencia y el goce en el escenario del poder, 2016, ediciones_senoicide/Amazon. Parte 1: https://www.amazon.es/dp/1539762173/ref=sr_1_1?ie=UTF8&qid=1478009428&sr=8-1&keywords=sacrificios+y+hierogamias Parte 2: https://www.amazon.es/dp/1540501299/ref=sr_1_3?ie=UTF8&qid=1482083171&sr=8-3&keywords=sacrificios+y+hierogamia

El imperio de la ficción: Capitalismo y sacrificios hollywoodenses, 2015, Ediciones Libertarias, http://www.libertarias.com/index.php?menu=3&op=7&tit=581

[Actualizado en mayo de 2019]