A one signatory deal 5

Obama is the man who shakes hands with himself.

Amir Taheri writes at Gatestone:

Sometime this week, President Obama is scheduled to sign an executive order to meet the Oct. 15 “adoption day” he has set for the nuclear deal he says he has made with Iran. According to the president’s timetable the next step would be “the start day of implementation”, fixed for Dec. 15.

But as things now stand, Obama may end up being the only person in the world to sign his much-wanted deal, in effect making a treaty with himself.

The Iranians have signed nothing and have no plans for doing so.

The so-called Joint Comprehensive Plan of Action (JCPOA) has not even been discussed at the Islamic Republic’s Council of Ministers. Nor has the Tehran government bothered to even provide an official Persian translation of the 159-page text.

The Islamic Majlis, the ersatz parliament, is examining an unofficial text and is due to express its views at an unspecified date in a document “running into more than 1,000 pages”, according to Mohsen Zakani, who heads the “examining committee”.

The changes we seek would require substantial rewriting of the text,” he adds enigmatically.

Nor have Britain, China, Germany, France and Russia, who were involved in the so-called P5+1 talks that produced the JCPOA, deemed it necessary to provide the Obama “deal” with any legal basis of their own. Obama’s partners have simply decided that the deal he is promoting is really about lifting sanctions against Iran and nothing else. So they have started doing just that without bothering about JCPOA’s other provisions.

Britain has lifted the ban on 22 Iranian banks and companies blacklisted because of alleged involvement in deals linked to the nuclear issue.

German trade with Iran has risen by 33 percent, making it the Islamic Republic’s third-largest partner after China.

China has signed preliminary accords to help Iran build five more nuclear reactors.

Russia has started delivering S300 anti-aircraft missile systems and is engaged in talks to sell Sukhoi planes to the Islamic Republic.

France has sent its foreign minister and a 100-man delegation to negotiate big business deals, including projects to double Iran’s crude oil exports.

Indian trade with Iran has risen by 17 percent, and New Delhi is negotiating massive investment in a rail-and-sea hub in the Iranian port of Chah-Bahar on the Gulf of Oman.

With help from Austrian, Turkish and United Arab Emirates banks, the many banking restrictions imposed on Iran because of its nuclear program have been pushed aside.

“The structures of sanctions built over decades is crumbling,” boasts Iranian President Hassan Rouhani.

Meanwhile, the nuclear project is and shall remain “fully intact,” says the head of Iran’s Atomic Energy Agency, Ali Akbar Salehi. We have started working on a process of nuclear fusion that will be cutting-edge technology for the next 50 years,” he adds.

Even before Obama’s “implementation day”, the mullahs are receiving an average of $400 million a month, no big sum, but enough to ease the regime’s cash-flow problems and increase pay for its repressive forces by around 21 percent. …

The mullahs see the “deal” as a means with which Obama would oppose any suggestion of trying to curb Iran.

“Obama won’t do anything that might jeopardize the deal,” says Ziba Kalam, a Rouhani adviser. “This is his biggest, if not only, foreign policy success.”

Let’s pause and contemplate that for a moment! This farce of a deal, this green light to one of the most  oppressive regimes on earth to go ahead and become a nuclear power, is  – Obama’s “biggest, if  not only, foreign policy SUCCESS”!  

More follows on this success:

If there have been changes in Tehran’s behavior they have been for the worse. Iran has teamed up with Russia to keep Bashar al-Assad in power in Syria, mocking Obama’s “Assad must go” rhetoric. More importantly, Iran has built its direct military presence in Syria to 7,000 men.

Tehran has also pressured Iraqi Premier Haidar al-Abadi’s weak government to distance itself from Washington and join a dubious coalition with Iran, Russia and Syria.

Certain that Obama is paralyzed by his fear of undermining the non-existent “deal” the mullahs have intensified their backing for Houthi rebels in Yemen. Last week a delegation was in Tehran with a long shopping list for arms.

In Lebanon, the mullahs have toughened their stance on choosing the country’s next president.

And in Bahrain, Tehran is working on a plan to “ensure an early victory” of the Shiite revolution in the archipelago.

Confident that Obama is determined to abandon traditional allies of the United States, Tehran has also heightened propaganda war against Saudi Arabia, now openly calling for the overthrow of the monarchy there.

The mullahs are also heightening contacts with Palestinian groups in the hope of unleashing a new “Intifada.”

They have done so. (See yesterday’s post, immediately below.)

“Palestine is thirsty for a third Intifada,” Supreme Guide Khamenei’s mouthpiece Kayhan said in an editorial last Thursday. “It is the duty of every Muslim to help start it as soon as possible.”

Obama’s hopes of engaging Iran on other issues were dashed last week when Khamenei declared “any dialogue with the American Great Satan” to be “forbidden”.

“We have no need of America” his adviser Ali-Akbar Velayati added later. “Iran is the region’s big power in its own right.”

Obama had hoped that by sucking up to the mullahs he would at least persuade them to moderate their “hate-America campaign”.

“Death to America” slogans, adorning official buildings in Tehran have been painted afresh along with US flags, painted at the entrance of offices so that they could be trampled underfoot.

None of the US citizens still held hostages in Iran has been released, and one, Washington Post stringer Jason Rezai, is branded as “head of a spy ring “in Tehran. Paralyzed by his fear of undermining the non-existent deal, Obama doesn’t even call for their release.

Government-sponsored anti-American nationwide events are announced for November, anniversary of the seizure of the US Embassy in Tehran.

The annual “End of America” week-long conference is planned for February and is to focus on “African-American victims of US police” and the possibility of “self-determination for blacks.”

Iran is inciting rebellion and treason among Americans.

According to official sources “families of Black American victims” and a number of “black American revolutionaries” have been invited.

Inside Iran, Obama’s “moderate partners” have doubled the number of executions and political prisoners. Last week they crushed marches by teachers calling for release of their leaders. Hundreds of trade unionists have been arrested and a new “anti-insurrection” brigade paraded in Tehran to terrorize possible protestors.

The Obama deal may end up as the biggest diplomatic scam in recent history.

The darkness of this world (16) 6

Today we have posted essay number 16, The Orgiasts (One), in the series by Jillian Becker titled The Darkness of This World (Part 3). (Find it under Pages in our margin.)

Here is part of it.

16

The Orgiasts (One)

Peter Weibel (1944- ): Riot as Art

Otto Mühl (1925-2013): Crime as Art

When the tumult and the shouting of the “sixty-eighters” died down in Western Europe, and the terrorists were dealt with by the law courts, and the shallow ideas of the New Left had crystallized into an orthodoxy as “political correctness”, the shocking of the bourgeois – the chief impetus of the movement – was carried on for years in “Action Art”.

In Austria, which claimed to be its home, the political dimension of Action Art (Aktionismus) was inspired by the satirical “happenings” which anarchist groups performed as part of the sixty-eight fun-revolutionary protests.

Though at first the movement was just as dedicated to the defiance and denigration of the civil authorities as the student protests, Austrian Aktionismus actually came to be sponsored for a time by the state. By the late 1970s, exhibitions of Action Art were funded by the government, and even opened ceremoniously by ministers of culture. The artists were celebrities: acclaimed by the media, honored in the universities, given awards and generous grants. Many Austrians were proud of them.

But at the start, when the artists first performed their obscene acts, and painfully assaulted their audiences, they were arrested. Even then they were not held for long. There was an outcry from the progressive intelligentsia: “This is ART. Couldn’t the official barbarians understand that?” The official barbarians hung their heads in shame. This was an age when almost anything was allowed to ART. Criminal violence it may be, but it may not count as crime when it was ART.

In the summer of 1968, a group of Austrian Actionists toured Germany – Munich, Essen, Cologne – with a repertoire of performances in support of the student rebellion. They appeared in sports-halls and amphitheaters “before audiences of 2,000 and more”. They built a water cannon “with extra strong pressure” to turn on to the audience. One of them, Peter Weibel, explained to me (some years later):”The idea of the gathering was rebelling for Vietnam, and the audience had come to demonstrate that they were in solidarity with the Vietnamese who were suffering from American aggression. We believed that solidarity only counts if you are suffering too. But there the audience was,  just sitting and not suffering at all. They were there to protest for Vietnam, but they were eating, drinking, doing nothing but waiting to be entertained, exhibiting the typical schizophrenic condition of this society. So we turned water on them.”

The audience did not accept the assault passively, not even for the sake of Art or Vietnam. They threw bottles back at the artists, and then the artists whipped them.

But first I hurt myself. I worked with fire. Before turning the water on them or whipping them I burnt my own arm. I put chemicals on my skin and set fire to it. This was to show that I earned the right to make them suffer by suffering myself. It was saying to them, ‘Look, I’m in pain so I have the right to be taken seriously.’ In Cologne I had to go to hospital afterwards, and there they didn’t believe me that this was an art action. They called the police and the police thought I had been experimenting with explosives. But my intention was to make rituals. No masochism was intended. While I was burning I was smiling all the time, to say, ‘Look, you can trust me, I won’t lose my nerve.’

He had to work hard on his whipping technique because, he said, “I used a very long whip and I couldn’t make it move fast enough at first, and people in the audience used to catch hold of it and pull me towards them, or jerk it out of my hands, until I learnt how to do it properly so that I cut their faces before they could do anything. The end was always a riot. The police came to stop it, we were arrested, and then we were fined. But that was part of the Action. ‘WAR, ART, RIOT’ the show was called. It was a campaign. Like a military campaign, only with Art.

In that same momentous summer, one of the founders of the Action Art movement, Otto Mühl, along with other Actionists, put on a performance in the auditorium of the University of Vienna titled ART AND REVOLUTION. They announced that it was for the victims of the Vietnam war. Mühl described it to me as “pissing, shitting, beating, and masturbating while singing hymns”. He and the other artists were arrested and imprisoned.

By the later 1970s, Mühl had stopped giving public performances, preferring to concentrate on “self-expression psychoanalysis and therapy through sexual activity and all other natural functions”. His theories on psychotherapy, he said, were “derived from those of Wilhelm Reich – and also of course from Sigmund Freud, our Viennese Urvater of psychoanalysis.”

Otto Mühl had founded two communes: one in Vienna, and one on a farm, Friedrichshof, in the Burgenland near the border with Hungary (which was then, and for another two decades, under an oppressive Communist regime obedient to the Kremlin). He named the country commune “The European Center of the Action-Analysis (AA) Organization of Conscious Life-Praxis”. Followers of his movement formed “branches” in Berlin, Hamburg, Kiel, Bremen, Oslo, Geneva, and Paris. At the start of his campaign Mühl visualized a “world commune organization, a global society made up of communes”, all of them following the pattern set at Friedrichshof, for the better health and happiness of mankind. In 1976, membership of his organization peaked at a little over 500.

Central to Mühl’s “praxis” was Selbstdarstellung, or “SD”, meaning self-expression, carried out in groups under a Self-Expression Leader whose aim was “to exorcise the small-family person” – der Kleinfamilienmensch – from the communard-patient. The process, Mühl maintained, was “Action Analytical Art”. His Selbstdarsteller had to become a performance artist. Before an audience of fellow communard-patients, he/she “wanders through childhood and corrects the damage that was done” to him/her. “The audience will be deeply moved when the patient recreates the scenes of his childhood damage, lets himself fall into a birth-experience and demonstrates the meaning of health as a new-born baby. From the re-enacted birth-experience – often accompanied by an enactment of ‘the killing of Mummy and Daddy’ – the final self emerges in the Selbstdarstellung, which is also called ‘dissolving the genital armoring’.” Beyond that, he’d explain, “lies not only cure but true liberation”; that is to say, an ability to experience “psychophysical orgasm” by which the patient/artist is liberated to enjoy “full sexual and social freedom”. The person has “found his/her identity in orgasm”.

What actually happened in the performance ending with a rebirth? What was Otto Mühl’s work as an artist-therapist? Simply sexual activity in public. “Free sexuality is an integral part of commune-society. The exclusive two-person relationship is a sickness of the small-family person” Mühl told me. (He also, in an unguarded moment, confided to me that he was “surprised to find that many of the male patient-artists developed impotence in the course of the treatment”.)

Although the achievement of personal liberation from authority was one of the chief aims of the therapy, the commune had strict rules. Both men and women, for instance, had to have their heads shorn of all hair and to dress in uniform trousers with a flap in front “to facilitate work” – namely, copulation-masturbation-therapy. The enterprise was dedicated to the defiance and destruction of “authoritarianism”, and the method was regulated in a sternly authoritarian manner.

It was a life-style of enforced asceticism, combined with extreme libertinism. All bodily functions were on display; the bathrooms and toilets had no doors. No member was allowed privacy, or money, or any personal property. “The commune rejects commercial and profit thinking.” On joining, a member made over all his property and wealth to the organization, including real estate and income from any source, even student grants. Members were discouraged from making contact with their “small family” (more commonly called, in English, the “nuclear family”) or anyone in the outside world, because “society predetermines their emotional misery, as if the world were ruled by an evil spirit”.

The communal life itself, according to Mühl, was “an art form”. So was every performance of “direct art actions”, which consisted of persons – often, if not always, drugged – performing sexual activities before the rest of the assembled group, “with objects, animals, excreta” and fellow communards of either sex and every imaginable erotic desire. Photographs of the actions were taken, collected, edited, and published in professionally printed and bound volumes.

Children were admitted to the Mühl communes with their mothers. Some were born in them. “Children”, Mühl said, “grow up in the commune without sexual repression, so they will be healthy and socially well adjusted. The sexual activity of the parent is not concealed because nobody is made to feel that it’s forbidden.”

But adjusted to what society? …

The practice of any conventional form of art was discouraged (though Mühl himself painted in a private studio standing apart from the main buildings of the commune). “It is enough that the commune life is itself an art-form,” he said.

And so, in his theory, was death: “killing people is an element of art to come.”

to make art – you do not need a piano – detergent and jam and urine will do – art may slip into every material and out of every hole – everybody can do art if he can find the pepper – boycott the pigs controlling the mass media – do not buy newspapers or tv-sets or cinema tickets – blast the opera houses – from now on all there is will be presented directly, coitus, torture, medical operations, destruction of people and animals and other objects is the only theater worth seeing – the rest is nonsense! – the inner life will be reduced to bodily acts – religious and political pigs can only be stopped by brutal use of all means – pornography [contrary to other statements] is a suitable means for curing society of genital-panic – the elements of art to me are eating, drinking, shitting and pissing, fucking and killing people. – these are the hot irons of our times – murder as art.” …

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