Jihad

"According to the pair, the band's moniker comes from a fusion of the toughest mo-fo American president and a word for "struggle." Keen subject matter ranges from cutting a piece off baby Jesus to the stupidity of smoking, all fronted by a furious, lighthearted lead vocal wit that includes lyrics such as "Fuck white people/Kill the white devil" and "I like telling dirty jokes/And I like smoking crystal meth/But darling I love you." Bow down to the gritty and raw audio confusion."



About Andrew Jackson Jihad

"We have a drunkolin player named Dylan Westley Cook now. He has a beard but now it is short. He might shave lightning bolts into it. Swan Song Sean-Claude Danger Vincent Bonnette Danger exclusively plays seagull brand guitar. Benjamin Ora Gallaty does music with a large violin. We have been together for one year and Justin James White doen't play drums with us anymore. Andrew Lane plays trumpet sometimes. Jeff Mayfield aka Piltatope aka ghostface killah played saw once. Jalipaz did clapping and backups on our record. Jalipaz recorded us very hard. He is also the kingpin behind a group of friends called The audioconfusion Manifesto. Oh yeah, Mike Montoya played drums for us several times. and now Owen Richard Evans plays the banjo. He also plays fools like chumps at bonez. "

Art manifesto

From Wikipedia, the free encyclopedia

The Art manifesto has been a recurrent feature associated with the avant-garde in Modernism. Art manifestos are mostly extreme in their rhetoric and intended for shock value to achieve a revolutionary effect. They often address wider issues, such as the political system. Typical themes are the need for revolution, freedom (of expression) and the implied or overtly stated superiority of the writers over the status quo. The manifesto gives a means of expressing, publicising and recording ideas for the artist or art group— even if only one or two people write the words, it is mostly still attributed to the group name.
Manifestos were introduced with the Futurists in Italy in 1909, and readily taken up by the Vorticists, Dadaists and the Surrealists after them: the period up to World War II created what are still the best known manifestos. Although they never stopped being issued, other media such as the growth of broadcasting tended to sideline such declarations. Due to the internet there has been a resurgence of the form, and many new manifestos are now appearing to a potential worldwide audience. The Stuckists have made particular use of this to start a worldwide movement of affiliated groups.
Manifestos typically consist of a number of statements, which are numbered or in bullet points and which do not necessarily follow logically from one to the next. Tristan Tzara’s explanation of the manifesto (Feeble Love & Bitter Love, II) captures the spirit of many:

“

A manifesto is a communication made to the whole world, whose only pretension is to the discovery of an instant cure for political, astronomical, artistic, parliamentary, agronomical and literary syphilis. It may be pleasant, and good-natured, it's always right, it's strong, vigorous and logical. Apropos of logic, I consider myself very likeable.

”

We are apart of The audioconfusion Manifesto along with:

a feast unknown

an aesthetic

andrew jackson jihad

art vandalay

asleep in the sea

blankets

hack bandit

peachcake

swordfish

the orphan line

tremulants

check out our sister collective: ZOMBIES AND PIRATES

Introduction

The manifesto was previously a political document of state. Indeed the declaration of war in 1914 was embodied in a document titled a “manifesto”. This background is extremely informative when assessing the positioning and impact of the manifesto as adopted by the early artistic users of it, who were subverting, even destroying, the form, as part of an overall challenge to art and society.
Although it might be assumed that an art manifesto's primary purpose is to communicate the aesthetics of the group issuing it, this turns out not to be the case, nor is it an art form in its own right. The norm is a hybrid form that combines a theatrical performance with political declamation. ^[1] Artists have not restricted themselves to their own genre, although they have often used their skills in the presentation of the text through graphics and type faces, resulting in a combination of "art, publicity, criticism, and advertising".^[2]
Martin Puchner stresses the inescapable connection between the art manifesto and the political manifesto, not least because artists also issued overt political statements and allied themselves with political groups. Marinetti tried to gain a political office and both Italian and Russian Futurists issued political manifestos. Lenin was espoused by the Zurich Dadaists, and Rosa Luxemburg by those in Berlin. In England the Suffragettes were supported by Vorticist Wyndham Lewis, and the Communists by Surrealist Andre Breton in France. However, the attentions of the artists were often not welcomed. Marinetti found himself stymied by Italian dictator Benito Mussolini, and Velimir Khlebnikov by Leon Trotsky, while Breton was an outcast from the French Communist party and Guy Debord resorted to starting an independent group. ^[3]

I Am For An Art... Manifesto, 1961

by Claes Oldenburg
Claes Oldenburg, a Pop artist, reacting against Abstract Expressionism, along with other young artists. The Manifesto ‘I am for an Art’ was originally made to be included in the catalogue of the 'Environments, Situations and Spaces’ exhibition. Each of the statements begin with 'I am for an art...'.
Here is a quote from the first two statement in his poetical manifesto,

"I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.
I am for an art that grows up not knowing it is art at all, an art given the chance of having a staring point of zero... "

( Harrison, C. and Wood, P. (2006) Art in Theory, 1900-2000: an Anthology of Changing Ideas. 2 ed. USA: Blackwell Publishing)

Claes Oldenburg info and art at Artsy

Punk and cyber 1976–1998

The rise of the punk movement with its basic and aggressive DIY attitude had a significant input into art manifestos, and this is reflected even in the titles. Some of the artists overtly identified with punk through music, publishing or poetry performance. There is also an equivalent "shocking" interpretation of feminism which contradicts the non-objectification advocated in the 1960s. Then the growing presence of the computer age began to assert itself in art proclamations as in society.

Cheap Art Manifesto 1984

by the Bread and Puppet Theater
The whole title is "the Why Cheap Art? manifesto". It is a single sheet, issued by the Bread and Puppet Theater "in direct response to the business of art and its growing appropriation by the corporate sector." There are seventeen statements, most of them beginning "Art is" and ending with an exclamation mark, set out mostly in upper case, sometimes mixed in with lower case, in different typefaces which get bolder through the leaflet till the final statement of a large HURRAH. It starts:

People have been thinking too long that art is a privilege of the museums & the rich.

Art is not business!

It stresses the positive nature of art which is beneficial to all and should be available to all, using poetic images such as "Art is like green trees", and urging, "Art fights against war & stupidity! ... Art is cheap!

World wide web 1999–

Widespread access to the internet has created a new incentive for artists to publish manifestos, with the knowledge that there is an instant potential worldwide audience. The effect of the internet on art manifestos has been described: "One could almost say we are living through a new boom time for the manifesto. The Web allows almost anybody to nail a broadsheet to the virtual wall for all to see."^[19] Some of the manifestos also appear in print form; others only exist as virtual text. It has also led to a great diversity of approaches, as well as a noticeable trend looking back at earlier traditions of Modernism or the Renaissance to create a present and future paradigm. The Stuckists manifesto has become well known, though most others have achieved little individual reputation or impact.

Only one type of torture is not an atrocity

Consensual tickle torture.

Tickle torture

From Wikipedia, the free encyclopedia

Tickle torture is a form of torture where a victim is subjected to tickling over a prolonged period of time.
Tickle torture most often involves restraining a person so they cannot pull or move away from the source of tickling, finding highly ticklish spots on the body, and then subjecting the victim to prolonged tickling over minutes or even hours.

Contents 1 Is tickle torture real? 2 Possible tickle torture forms 3 Consensual tickle torture 4 Tickle torture in popular culture 5 See Also

Is tickle torture real?

The debatable nature of tickle torture begins in that, historically, there is little evidence that it was actually practiced as a method of hard torture. Well-known torture epidemics, such as the Salem Witch Trials and the Spanish Inquisition, used methods of torture far more painful than acidosis from simple tickling.
As public humiliation, however, tickling would be an effective torture. In addition, a person being tickled and laughing cannot eat, drink, or sleep, meaning death by exhaustion if not by respiratory arrest, which is theoretically possible.

Possible tickle torture forms

"Chinese tickle torture" is a term used in Western Society to imply an ancient form of torture practiced by the Chinese, in particular the courts of the Han Dynasty. Chinese tickle torture was allegedly a punishment for nobility since it left no marks and a victim could recover relatively easily and quickly.
Another example of tickle torture was used in Ancient Rome, where a person’s feet are dipped in a salt solution, and a goat is brought in to lick the solution off. This type of tickle torture would only start as tickling, and in the end wind up being extremely painful.

The stocks are perhaps a device which gives credence to tickle torture as an actual torture method in that stocks are designed to restrain a person’s ankles, exposing their bare feet, thus allowing passersby to torture the soles with various methods such as tickling. According to tour guides at Colonial Williamsburg, people in the stocks could expect tormentors to “take off your shoes and socks and tickle your bare soles and toes.”
Another form of tickle torture is between siblings, lovers, and friends. In this scenario, one or more people gang up on one victim, proceed to hold down that person and tickle them to the point of helpless laughter. They will focus on tickling sensitive areas, like the soles of the bare feet and underarms. In this environment, however, the tickling perhaps last for no more than a few minutes and, should a person actually begin experiencing severe pain or discomfort the tickling would either be stopped by the initiators or another party (such as a parent) would step in.

Consensual tickle torture

In the world of fetishism, tickle torture may be found as an activity between two partners where one will tie up and tickle the other. Trends on Internet tickling websites and chat rooms also shows an increased level of recent interest in tickling partners in pantyhose. The pantyhose are used to increase a person’s ticklishness (especially on the feet) and may be worn by both men and women in this tickling experience.