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	<title>the avant guardian &#187; avant garde</title>
	<atom:link href="http://theavantguardian.org/category/avant-garde/feed/" rel="self" type="application/rss+xml" />
	<link>http://theavantguardian.org</link>
	<description>the rabbit hole, with special sauce</description>
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		<title>breaking booze\/\/full moon and water</title>
		<link>http://theavantguardian.org/2010/10/22/breaking-boozefull-moon-and-water/</link>
		<comments>http://theavantguardian.org/2010/10/22/breaking-boozefull-moon-and-water/#comments</comments>
		<pubDate>Sat, 23 Oct 2010 03:03:48 +0000</pubDate>
		<dc:creator>walter crunkite</dc:creator>
				<category><![CDATA[avant garde]]></category>
		<category><![CDATA[NASA]]></category>
		<category><![CDATA[the moon]]></category>
		<category><![CDATA[water]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=14824</guid>
		<description><![CDATA[Oh shit. Water on the moon. Lots of water. You know how we know this? NASA started bombing the moon sometime last year with spent-fuel rockets.]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/10/22/breaking-boozefull-moon-and-water/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>take the corporate option and shove it\/\/the 2010 vision festival unleashes the creative option</title>
		<link>http://theavantguardian.org/2010/06/05/take-the-corporate-option-and-shove-itthe-2010-vision-festival-unleashes-the-creative-option/</link>
		<comments>http://theavantguardian.org/2010/06/05/take-the-corporate-option-and-shove-itthe-2010-vision-festival-unleashes-the-creative-option/#comments</comments>
		<pubDate>Sat, 05 Jun 2010 13:00:17 +0000</pubDate>
		<dc:creator>allography</dc:creator>
				<category><![CDATA[avant garde]]></category>
		<category><![CDATA[music]]></category>
		<category><![CDATA[performance]]></category>
		<category><![CDATA[jazz]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=7490</guid>
		<description><![CDATA[Muhal Richard Abrams is to jazz like Ché Guevera was to revolution.  He never stops moving and he never stops imagining and striving towards the impossible.  It&#8217;s no wonder then that Abrams life work will be celebrated at this years Vision Festival.  For the last 15 years the Vision Festival has celebrated jazz greats while at the same time creating a venue that encourages pushing the boundaries of what is possible in jazz performance.  Over the course of his life, Abrams has worked as a performer, educator, composer and advocate for jazz music. For me, jazz stands as the paradigm for revolutionary performance.  As Terry Eagleton notes, &#8220;though each performer contributes to the greater good of the whole, [one] does so not by some grim-lipped self sacrifice, but simply by expressing [themselves].&#8221;  By becoming better at the thing [they] love, the jazz artist learns from and enhances the abilities of [their] co-performers.  If this isn&#8217;t a model for revolutionary activity, I don&#8217;t know what is!  A revolution occurs not because one person decides a revolution should occur, but because a group of people are driven to see the world as it might be, and not as it is.  One person [...]]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/06/05/take-the-corporate-option-and-shove-itthe-2010-vision-festival-unleashes-the-creative-option/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>bill hicks\/\/a t.a.g. obituary*</title>
		<link>http://theavantguardian.org/2010/05/12/bill-hicksa-t-a-g-obituary/</link>
		<comments>http://theavantguardian.org/2010/05/12/bill-hicksa-t-a-g-obituary/#comments</comments>
		<pubDate>Wed, 12 May 2010 12:28:43 +0000</pubDate>
		<dc:creator>ari gratch</dc:creator>
				<category><![CDATA[avant garde]]></category>
		<category><![CDATA[performance]]></category>
		<category><![CDATA[bill hicks]]></category>
		<category><![CDATA[david letterman]]></category>
		<category><![CDATA[pick up the gun]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=7013</guid>
		<description><![CDATA[Look into his eyes.  He often called himself a little dark poet, but what he did with words was not exactly poetry.  The theme this week, Pick up the gun, was taken from one of Hicks&#8217; performances.  Every time Hicks got on stage, he knew he was picking up the gun, the gun that would give his enemy the justification he needed to kill the man in black.  Hicks knew it would happen, but he also knew that he had no other choice but to pick up the gun. So, what do you do in such a situation?  The poor shephard, worried for his life, tried to pick it up with enough time to at least get a shot off, but there&#8217;s never enough time.  If you have to pick up the gun, the only weapon you have is your words; you make the bastard who is going to shoot you regret the fact that they waited as long as they did.  That&#8217;s what Bill Hicks did every time he got on stage.  Well, every time but once. Living as he did on the cusp of popularity but always being just too risque, it was no surprise that Hicks was [...]]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/05/12/bill-hicksa-t-a-g-obituary/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>disappearing and breaking\/\/remembering the past</title>
		<link>http://theavantguardian.org/2010/03/24/disappearing-and-breakingremembering-the-past/</link>
		<comments>http://theavantguardian.org/2010/03/24/disappearing-and-breakingremembering-the-past/#comments</comments>
		<pubDate>Wed, 24 Mar 2010 19:00:31 +0000</pubDate>
		<dc:creator>ari gratch</dc:creator>
				<category><![CDATA[avant garde]]></category>
		<category><![CDATA[performance]]></category>
		<category><![CDATA[david byrne]]></category>
		<category><![CDATA[flash mobs]]></category>
		<category><![CDATA[john cage]]></category>
		<category><![CDATA[london calling!]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=6151</guid>
		<description><![CDATA[Performance is often labeled a disappearance.  By the time it’s happening, it’s already done.  The moment performed is always already in the past.  My present performance has already happened.  And sure, we can wax philosophical all day long about such a statement but it feels like it’s just another way to say that it’s really hard to talk about what performance is.  Performance scholar Richard Schechner says that performance is “restored behavior,” that when we perform, we’re always performing that which has been performed before, albeit in a slightly different way, if for no other reason than the space and time has disappeared.  In this way, performance is about bringing the past into the present.  It’s about remembering.  Now this remembering is often unconscious.  When the President, for example, gives an inaugural address, he is very clearly calling on the performances of presidents past, restoring the genre of the address but putting his own flair on it.  Now, there’s no doubt that the whole thing is about pomp and circumstance, but it is a pomp and circumstance that is American.  In this framing of the event, we forget (as a public) that the restored behavior of past president’s is a [...]]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/03/24/disappearing-and-breakingremembering-the-past/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>paris calling</title>
		<link>http://theavantguardian.org/2010/03/23/paris-calling/</link>
		<comments>http://theavantguardian.org/2010/03/23/paris-calling/#comments</comments>
		<pubDate>Tue, 23 Mar 2010 13:00:28 +0000</pubDate>
		<dc:creator>michael lujan</dc:creator>
				<category><![CDATA[art]]></category>
		<category><![CDATA[avant garde]]></category>
		<category><![CDATA[film]]></category>
		<category><![CDATA[impermanence]]></category>
		<category><![CDATA[performance]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[death death goose]]></category>
		<category><![CDATA[gnosticism]]></category>
		<category><![CDATA[obsidian blade video]]></category>
		<category><![CDATA[sadism]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=6112</guid>
		<description><![CDATA[Featuring Lané Jo, and the makeup and hairstylings of Lauren Marler. Music (&#8220;Paris 4 AM&#8221;) by The Legendary Pink Dots. Location courtesy of Hotel Congress. . . . . .]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/03/23/paris-calling/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>the desultory results of theavantguardian logo competition\/\/the candidates</title>
		<link>http://theavantguardian.org/2010/03/05/the-desultory-results-of-theavantguardian-logo-competitionthe-candidates/</link>
		<comments>http://theavantguardian.org/2010/03/05/the-desultory-results-of-theavantguardian-logo-competitionthe-candidates/#comments</comments>
		<pubDate>Fri, 05 Mar 2010 17:15:55 +0000</pubDate>
		<dc:creator>chicken flava</dc:creator>
				<category><![CDATA[art]]></category>
		<category><![CDATA[avant garde]]></category>
		<category><![CDATA[commodities]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=5559</guid>
		<description><![CDATA[We have results! For the logo competition we&#8217;ve been blathering about for the last month or so. Please admire. What follows is a list IN NO PARTICULAR ORDER of the logos we received. We would like you to admire them, comment on them, hold them, love them, and decide amongst yourselves. We will be pow-ow-ing over here and will most likely publish the results on Monday. If you would like to give us some input please email tracey@theavantguardian.org (she needs something to do) or leave your suggestions in the comments. FYI My critical analysis is dumb. 1. Let&#8217;s start out with some suck. I warned that you mine would be a bit ridiculous. I find that purposefully crooked arrangements, while funny, often just look terrible and sloppy. Most of the things I do maintain a pretty solid &#8220;terrible and sloppy&#8221; image, so it&#8217;s really a lifestyle at this point. From the chicken flava. 2. Next a huge step up from reader Sam Petersson form Buckshots Inc. I see what you were going with here. That&#8217;s Avant. Looking smooth. My Thoughts are that this is the beginning of something great. Ecstasy? Do we need a Private Room? 3. From reader Aram [...]]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/03/05/the-desultory-results-of-theavantguardian-logo-competitionthe-candidates/feed/</wfw:commentRss>
		<slash:comments>13</slash:comments>
		</item>
		<item>
		<title>salt lick \/\/ branding wounds</title>
		<link>http://theavantguardian.org/2010/02/25/salt-lick-branding-wounds/</link>
		<comments>http://theavantguardian.org/2010/02/25/salt-lick-branding-wounds/#comments</comments>
		<pubDate>Thu, 25 Feb 2010 14:00:52 +0000</pubDate>
		<dc:creator>mfsandler</dc:creator>
				<category><![CDATA[avant garde]]></category>
		<category><![CDATA[commodities]]></category>
		<category><![CDATA[uncategorized]]></category>
		<category><![CDATA[branding leads to revolution]]></category>
		<category><![CDATA[slavery]]></category>
		<category><![CDATA[walter benjamin]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=5204</guid>
		<description><![CDATA[The German literary critic Walter Benjamin, as much an avant guardian as anyone yet mentioned in these pages, once saw the revolution in an advertisement for this salt. Bullrich&#8217;s. He tells the story in his unfinished Arcades Project, his massive collage of historical ephemera drawn from nineteenth century Parisian street life. Benjamin left his manuscript of the Arcades Project in the hands of Georges Bataille, then a librarian at the Bibliotheque Nationale, while he attempted to escape Nazi persecution in America. He ended up committing suicide on the Spanish-French border, despairing this endeavor. His masterpiece languished in tantalizing obscurity for many years until it was published in German in the 1970&#8242;s and translated into English at the turn of the millenium.  In the meantime, his work slowly attracted considerable interest among artists and radicals the world over. The story&#8217;s a bit longish, but has stuck with me for many years, so I&#8217;d like to pass it along to you. Here goes: &#8220;Many years ago, on a streetcar, I saw a poster that, if things had their due in this world, would have found its admirers, historians, exegetes and copyists just as surely as any great poem or painting. And, in fact, [...]]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/02/25/salt-lick-branding-wounds/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>loas to haiti \/\/ and its convulsive beauty</title>
		<link>http://theavantguardian.org/2010/01/14/loas-to-haiti-and-its-convulsive-beauty/</link>
		<comments>http://theavantguardian.org/2010/01/14/loas-to-haiti-and-its-convulsive-beauty/#comments</comments>
		<pubDate>Thu, 14 Jan 2010 14:00:40 +0000</pubDate>
		<dc:creator>mfsandler</dc:creator>
				<category><![CDATA[avant garde]]></category>
		<category><![CDATA[poetry/ lit]]></category>
		<category><![CDATA[aime cesaire]]></category>
		<category><![CDATA[convulsive beauty]]></category>
		<category><![CDATA[haiti]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=3802</guid>
		<description><![CDATA[&#8220;&#8230;and no race possesses the monopoly of beauty, of intelligence, of force, and there is a place for all at the rendezvous of victory.&#8221; &#8211; Aimé Césaire, Cahier d&#8217;un retour au pays natal Thinking of the Caribbean this week, for obvious reasons. One of the happy aspects of surrealism most people don&#8217;t think of was that it opened the door to a number of poets and artists from the Third World. And not just because surrealism was about the &#8220;exotic.&#8221; Breton&#8217;s slanted idea of beauty confirmed what people of African descent suspected: that Western aesthetic ideals were incomplete and exclusive. Years in Louisiana, Florida, and NYC have given me a sense of identity with the Caribbean. But in the inevitable global paroxysm of sympathy after a disaster like this, and what will inevitably be its rapid fading from the awareness of the 24-hour news cycle, I get conflicted. Is there anything beyond a few friends and the coincidences of place (&#8220;spots of time&#8221;?) that have drawn my allegiance to Haiti and its neighbors? Artists of Negritude saw that &#8220;convulsive beauty&#8221; is appropriate to the Caribbean, with its precarious islands, diasporic cultural confusions, and political unrest. Likewise it is to postmodern America&#8211; [...]]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/01/14/loas-to-haiti-and-its-convulsive-beauty/feed/</wfw:commentRss>
		<slash:comments>7</slash:comments>
		</item>
		<item>
		<title>rode hard &amp; put up wet</title>
		<link>http://theavantguardian.org/2010/01/07/rode-hard-put-up-wet/</link>
		<comments>http://theavantguardian.org/2010/01/07/rode-hard-put-up-wet/#comments</comments>
		<pubDate>Thu, 07 Jan 2010 19:00:26 +0000</pubDate>
		<dc:creator>eileen garcia</dc:creator>
				<category><![CDATA[avant garde]]></category>
		<category><![CDATA[fashion]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[art]]></category>
		<category><![CDATA[eileen garcia]]></category>
		<category><![CDATA[rode hard and put up wet]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/2010/01/06/rode-hard-put-up-wet/</guid>
		<description><![CDATA[oh, papa&#8230;won&#8217;t ya&#8217; help me outta my towel&#8230;oh, honey won&#8217;t ya&#8217; rub mama&#8217;s back&#8230;sugah&#8217; love&#8230;won&#8217;t ya&#8217;&#8230;. brush my hair, oh, you know&#8230;.make it wet, ride it hard.]]></description>
		<wfw:commentRss>http://theavantguardian.org/2010/01/07/rode-hard-put-up-wet/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>caught in the camera eye-get on with the fascination</title>
		<link>http://theavantguardian.org/2009/12/24/caught-in-the-camera-eye-get-on-with-the-fascination/</link>
		<comments>http://theavantguardian.org/2009/12/24/caught-in-the-camera-eye-get-on-with-the-fascination/#comments</comments>
		<pubDate>Thu, 24 Dec 2009 19:00:01 +0000</pubDate>
		<dc:creator>eileen garcia</dc:creator>
				<category><![CDATA[art]]></category>
		<category><![CDATA[avant garde]]></category>
		<category><![CDATA[photography]]></category>
		<category><![CDATA[poetry/ lit]]></category>
		<category><![CDATA[uncategorized]]></category>
		<category><![CDATA[get on with the fascination]]></category>

		<guid isPermaLink="false">http://theavantguardian.org/?p=3013</guid>
		<description><![CDATA[we live on a half-lit stage, a concrete platform.. waiting it&#8217;s grand appearance, it&#8217;s ultimate performance.. dark &#38; light, kissed infinitely by the sun. day becomes night, night into day- the anticipation of change, of an end, or a beginning. the cracks in the walls take their last breath, a soft exhale of tired days&#8230; we live in a dream of exploding hearts and hot streets. -eileen garcia]]></description>
		<wfw:commentRss>http://theavantguardian.org/2009/12/24/caught-in-the-camera-eye-get-on-with-the-fascination/feed/</wfw:commentRss>
		<slash:comments>6</slash:comments>
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