DEEP SCRATCH

Category: Ezra Pound

  • Ernest Fenollosa 2014 and TTOTT

    “Ezra Pound was no starnger to Oriental art when he met Mary McNeil Fenollosa, the widow of the American Orientalist Ernest Fenollosa (1853-1908), in London in late September 1913.”–Zhaoming Qian, Orientalism and Modernism (1994)  pg. 9.

     

    Fenollosa 2014 and TTOTT

    by Steve Fly

    “Fenollosa [1853-1908], wrote an essay on
    “The Chinese WrittenCharacter as a Medium for Poetry” which vastly influenced
    Ezra Pound and, through Pound, modern poetry generally;
    said essay also anticipates some formulations of General Semantics
    and NeuroLinguistic Programming [NLP], and foreshadows
    modern critiques of “linear” and “alphabetical” thinking. –Robert Anton Wilson, Recorsi 2005.

    Ernest Fenollosa (1853-1908) found a place in the chain of human innovation, and the lineage of modernism as defined by Dr Robert Anton Wilson in his unfinished project called ‘the tale of the tribe’. Please read some of my others posts trying to get at TTOTT and what it all means to me.

    Fly On The Tale Of The Tribe: A Rollercoaster Ride With Robert Anton Wilson

    by Steven James Pratt

    Link: http://a.co/gOGNKyV

     

    (more…)

  • Make it NEW


     


    http://www.loa.org/excerpts/pound/sieburth.jsp 


    Introduction

    “The artist is always beginning,” Ezra Pound once wrote. “Any work of art which is not a beginning, an invention, a discovery is of little worth. The very name Troubadour means a ‘finder,’ one who discovers.” Readers of Poems and Translations will be able to follow, for the first time in a single volume, a poet whose career moves through a series of beginnings and re-beginnings—perhaps Pound’s most distinctively American trait.

    In his first published book of poems, A Lume Spento, the Pound of 1908 is still very much a late nineteenth-century poet, steeped in the archaisms of the Pre-Raphaelites. A mere four years later, in Ripostes, he has reinvented himself as a modernist proponent of “Imagism,” before moving on, in rapid succession, to the avant-garde aesthetics of Vorticism and translations from the Chinese (Cathay), the Japanese (“Noh” or Accomplishment), the Provençal (Arnaut Daniel), and the Latin (“Homage to Sextus Propertius”). Each of these forays into new identities and new languages constituted, as Pound himself explained, a “search for oneself,” which entailed “casting off complete masks of the self in each poem.”

    The title Pound chose for the first comprehensive collection of his shorter poems in 1926 was, significantly, Personae—Latin for “masks.” Whether writing in the form of Browningesque dramatic monologues, medieval canzoni, satirical epigrams, Confucian analects, or Sophoclean tragic choruses, Pound in his poems presents us with a medley of masks whose multiple and contradictory features helped shape the face of American poetry in the 20th century.

    In his dedication of The Waste Land, T. S. Eliot paid homage to Ezra Pound as “il miglior fabbro”—that is, “the better craftsman”—Dante’s term for the Troubadour poet Arnaut Daniel. Pound remains a vital ancestral presence in the lineage of American modernist and post-modernist poetry. The list of his descendants includes not only William Carlos Williams, Marianne Moore, Louis Zukofsky, George Oppen, and Charles Olson, but also the Beats and, more recently, the Language Poets—all of whom in their own fashion learned their craft from his work while observing his central imperative: “Make it new.”

    —Richard Sieburth

  • Fenollosa Pound Olson and the Chinese written character

     

    “The first was Ernest Fenollosa’s provocative essay ‘The Chinese Wriiten Character as a Medium for Poetry.’ He found the Pound-edited text of the essay in the latter’s book Instigations and excitedly copied out its main arguments into his notebook that June. Fenollosa’s account of the exhaustion of poetic qualities in modern discourse resulting from a degeneration of the original capacity of language to mime the physical processes, and his implicit advocacy of a return to the state of primal verbal immediacy, with words once again becoming instrumental to the creation of ‘a vivid shorthand picture of the operations of nature,’ held for Olson the same appeal it had for Pound before him.–Tom Clark, Charles Olson: The Allegory of a Poet’s Life. pg. 103.

     
     
     
     

  • All powers of Europe


    For my part thought that Americans
    Had been embroiled in European wars long enough
    Easy to see that
    France and England wd/ try to embroil us Obvious
    that all powers of Europe will be continually at manoeuvre
    to work us into their real or imaginary balances
    of power; J.A 1782 FISHERIES.–Ezra Pound, Canto LXV. Pg 377.

    J.A = John Adams

  • Pilot Plan for Concrete Poetry (1958)

    Pilot Plan for Concrete Poetry (1958)
    Augusto de Campos, Decio Pignatari, Haroldo de Campos: Brazil

    From Concrete Poetry: A World View, 1968, ed Mary Ellen Solt

    RELATED RESOURCES:
    Haroldo de Campos in UbuWeb Historical
    Augusto de Campos in UbuWeb Historical
    Decio Pignatari in UbuWeb Historical
    “Concrete Poetry: A World View : Brazil” in UbuWeb Papers
    “The Imperative of Invention…” Charles A. Perrone
    “Interview with Augusto de Campos” Roland Greene
    “The Concrete Historical” Roland Greene
    Sérgio Bessa “Architecture Versus Sound in Concrete Poetry”
    “Speaking About Genre: the Case of Concrete Poetry” Victoria Pineda
    “From (Command) Line to (Iconic) Constellation”, Kenneth Goldsmith

    Concrete Poetry: product of a critical evolution of forms. Assuming that the historical cycle of verse (as formal-rhythmical unit) is closed, concrete poetry begins by being aware of graphic space as structural agent. Qualified space: space-time structure instead of mere linear-temporistical development. Hence the importance of ideogram concept, either in its general sense of spatial or visual syntax, or in its special sense (Fenollosa/ Pound) of method of composition based on direct-analogical, not logical-discursive juxtaposition of elements. “ll faut que notre intelligence s’habitue à comprendre synthético-idéographiquement au lieu de analytico -discursivement” (Apollinaire). Elsenstein: ideogram and montage.

    Forerunners: Mallarmé (Un coup de dés, 1897): the first qualitative jump: “subdivisions prismatiques de l’idée”; space (“blancs”) and typographical devices as substantive elements of composition. Pound (The Cantos); ideogramic method.
    Joyce (Ulysses and Finnegans Wake): word-ideogram; organic interpenetration of time and space. Cummings: atomization of words, physiognomical typography; expressionistic emphasis on space. Apollinaire (Calligrammes): the vision, rather than the praxis. Futurism, Dadaism: contributions to the life of the problem. In Brazil: Oswald de Andrade (1890-1954): “in pills, minutes of poetry. João Cabral de Melo Neto (born 1920—The Engineer and The Psychology of Composition plus Anti-Ode): direct speech, economy and functional architecture of verse.

    Concrete Poetry: tension of things-words in space-time. Dynamic structure: multiplicity of concomitant movements. So in music-by, definition, a time art-space intervenes (Webern and his followers: Boulez and Stockhausen; concrete and electronic music); in visual arts-spatial, by definition-time intervenes (Mondrian and his Boogie-Woogie series; Max Bill; Albers and perceptive ambivalence; concrete art in general).

    Ideogram: appeal to nonverbal communication. Concrete poem communicates its own structure: structure-content. Concrete poem is an object in and by itself, not an interpreter of exterior objects and/ or more or less subjective feelings. Its material word (sound, visual form, semantical charge). Its problem: a problem of functions-relations of this material.

    Factors of proximity and similitude, gestalt psychology. Rhythm: relational force. Concrete poem, by using the phonetical system (digits) and analogical syntax, creates a specific linguistical area-“verbivocovisual” -which shares the advantages of nonverbal communication, without giving up word’s virtualities. With the concrete poem occurs the phenomenon of metacommunication: coincidence and simultaneity of verbal and nonverbal communication; only-it must be noted-it deals with a communication of forms, of a structure-content, not with the usual message communication.

    Concrete Poetry aims at the least common multiple of language. Hence its tendency to nounising and verbification. “The concrete wherewithal of speech” (Sapir). Hence its affinities with the so-called isolating languages (Chinese): “The less outward grammar the Chinese language possesses, the more inner grammar inherent in it” (Humboldt via Cassirer). Chinese offers an example of pure relational syntax, based exclusively on word order (see Fenollosa, Sapir and Cassirer).

    The conflict form-subject looking for identification, we call isomorphism. Parallel to form-subject isomorphism, there is a space-time isomorphisin, which creates movement. In a first moment of concrete poetry pragmatics, isomorphism tends to physiognomy, that is a movement imitating natural appearance (motion); organic form and phenomenology of composition prevail. In a more advanced stage, isomorphism tends to resolve itself into pure structural movement (movement properly said); at this phase, geometric form and mathematics of composition (sensible rationalism) prevail.

    Renouncing the struggle for “absolute,” Concrete Poetry remains in the magnetic field of perennial relativeness. Chronomicro-metering of hazard. Control. Cybernetics. The poem as a mechanism regulating itself: feed-back. Faster communication (problems of functionality and structure implied) endows the poem with a positive value and guides its own making.

    Concrete Poetry: total responsibility before language. Thorough realism. Against a poetry of expression, subjective and hedonistic. To create precise problems and to solve them in terms of sensible language. A general art of the word. The poem-product: useful object.


    Note: Original printed without capitals. The “Pilot Plan for Concrete Poetry” presents a synthesis of the theoretical writings of the Noigandres group from 1950-58. The critical writings and manifestos of Augusto de Campos, Décio Pignatari and Haroldo de Campos have been collected in a volume: Teoria da Poesia Concreta, Textos Críticos e Manifestos 1950-1960, Sao Paulo, Ediçãoes Invenção, 1965.
    Translated by the authors.

    1958
    (From Noigandres 4)

    http://www.ubu.com/papers/noigandres01.html

  • Email To The Tribe (A Youtube Playlist Refresher)

    Email To The Tribe (A Youtube Playlist Refresher)

    Email to the tribe is my research class into the tale of the tribe, paying tribute to the last great work of Dr Robert Anton Wilson.…

    –Steve Fly

    Fly On The Tale Of The Tribe: A Rollercoaster Ride With Robert Anton Wilson

    by Steven James Pratt

    Link: http://a.co/gOGNKyV

  • Letter to Harold Innis from McLuhan, 14th March 1951.

    Letter to Harold Innis from McLuhan, 14th March 1951.

    Within the small and obscure field of those who follow the tale of the tribe, as defined by Robert Anton Wilson will probably already be familiar with this letter by Marshall McLuhan, to Harold Innis.

    In the letter McLuhan more or less drafts the trajectory RAW expands upon, with the addition of Giordano Bruno, Alfred Korzybski, Nietzsche, Claude Shannon and Orson Welles, RAW weaves a landscape of, dare i say, cybernetic post modernism?

    Internet…probably the greatest catalyst, tool, for the evolution of language and human-language interfacing. And so, 12/13 historical characters are selected by RAW to approximate the innovations that took place to bring us here, and the human biographical tales crisscrossing with the design science revolutions and new styles. RAWs tale of the tribe.

    Here is that letter that helped start it all, in some sense.

    –steve fly 

    Letter to Harold Adams Innis
    Toronto, 14th March 1951

    Dear Innis,
    Thanks for the lecture re-print. This makes an opportunity for me to mention my interest in the work you are doing in communication study in general. I think there are lines appearing in Empire and Communications, for example, which suggest the possibility of organizing an entire school of studies. Many of the ancient language theories of the Logos type which you cite for their bearings on government and society have recurred and amalgamated themselves today under the auspices of anthropology and social psychology. Working concepts of “collective consciousness” in advertising agencies have in turn given salience and practical effectiveness to these “magical” notions of language.
    But it was most of all the esthetic discoveries of the symbolists since Rimbaud and Mallarmé (developed in English by Joyce, Eliot, Pound, Lewis and Yeats) which have served to recreate in contemporary consciousness an awareness of the potencies of language such as the Western world has not experienced in 1800 years..

    Mallarmé saw the modern press as a magical institution born of technology. The discontinuous juxtaposition of unrelated items made necessary by the influx of news stories from every quarter of the world, created, he saw, a symbolic landscape of great power and importance. (He used the word “symbol” in the strict Greek sense sym-ballein, to pitch together, physically and musically). He saw at once that the modern press was not a rational form but a magical one so far as communication was concerned. Its very technological form was bound to be efficacious far beyond any informative purpose. Politics were becoming musical, jazzy, magical.

    The same symbolist perception applied to cinema showed that the montage of images was basically a return via technology to age-old picture language. S. Eisenstein’s Film Forum and Film Technique explore the relations between modern developments in the arts and Chinese ideogram, pointing to the common basis of ideogram in modern art, science and technology.

    One major discovery of the symbolists which had the greatest importance for subsequent investigation was their notion of the learning process as a labyrinth of the senses and faculties whose retracing provided the key to all arts and sciences (basis of myth of Daedalus, basic for the dreams and schemes of Francis Bacon, and, when transferred by Vico to philology and history of culture, it also forms the basis of modern historiography, archaeology, psychology and artistic procedures alike.)

    Retracing becomes in modern historical scholarship the technique of reconstruction. The technique which Edgar Poe first put to work in his detective stories. In the arts this discovery has had all those astonishing results which have seemed to separate the ordinary public from what it regards as esoteric magic. From the point of view of the artist however the business of art is no longer the communication of thoughts or feelings which are to be conceptually ordered, but a direct participation in an experience. The whole tendency of modern communication whether in the press, in advertizing, or in the high arts is toward participation in a process, rather than apprehension of concepts. And this major revolution, intimately linked to technology, is one whose consequences have not begun to be studied although they have begun to be felt.

    One immediate consequence, it seems to me, has been the decline of literature. The hyper-trophy of letter-press, at once the cause and effect of universal literacy, has produced a spectacular decline of attention to the printed or written word. As you have shown in Empire and Communications, ages of literature have been few and brief in human history. The present literary epoch has been of exceptional duration — 400 years. There are many symptoms that it is at an end. The comic book for example has been seen as a degenerate literary form instead of as a nascent pictorial and dramatic form which has sprung from the new stress on visual-auditory communication in the magazines, the radio and television. The young today cannot follow narrative but they are alert to drama. They cannot bear description but they love landscape and action.

    If literature is to survive as a scholastic discipline except for a very few people, it must be by a transfer of its techniques of perception and judgement to these new media. The new media, which are already much more constitutive educationally than those of the class-room, must be inspected and discussed in the class-room if the class-room is to continue at all except as a place of detention. As a teacher of literature it has long seemed to me that the functions of literature cannot be maintained in present circumstances without radical alteration of the procedures of teaching. Failure in this respect relegated Latin and Greek to the specialist; and English literature has already become a category rather than an interest in school and college.

    As mechanical media have popularized and enforced the presence of the arts on all people it becomes more and more necessary to make studies of the function and effect of communication on society. Present ideas of such effects are almost entirely in terms of mounting or sagging sales curves resulting from special campaigns of commercial education. Neither the agencies nor the consumers know anything about the social or cutural effects of this education.

    Deutsch’s interesting pamphlet on communication is thoroughly divorced from any sense of the social functions performed by communication. He is typical of a school likewise in his failure to study the matter in the particular. He is the technician interested in power but uncritical and unconcerned with social effect. The diagnosis of his type is best found, so far as I know, in Wyndham Lewis’s The Art of Being Ruled. That pamphlet is probably the most radical political document since Machiavelli’s Prince. But whereas Machiavelli was concerned with the use of society as raw material for the arts of power, Lewis reverses the perspective and tries to discern the human shape once more in a vast technological landscape which has been ordered on Machiavellian lines.

    The fallacy in the Deutsch-Wiener approach is its failure to understand the techniques and functions of the traditional arts as the essential type of all human communication. It is instead a dialectical approach born of technology and quite unable of itself to see beyond or around technology. The Medieval schoolmen ultimately ended up on the same dialectical reef.

    As Easterbrook may have told you I have been considering an experiment in communication which is to follow the lines of this letter in suggesting means of linking a variety of specialized fields by what may be called a method of esthetic analysis of their common features. This method has been used by my friend Siegfried Giedion in Space, Time and Architecture and in Mechanization Takes Command. What I have been considering is a single mimeographed sheet to be sent out weekly or fortnightly to a few dozen people in different fields, at first illustrating the underlying unities of form which exist where diversity is all that meets the eye. Then it is hoped there will be a feedback of related perception from various readers which will establish a continuous flow.

    It seems obvious to me that Bloor St. is the one point in this University where one might establish a focus of the arts and sciences. And the organizing concept would naturally be “Communication Theory and practice.” A simultaneous focus of current and historic forms. Relevance to be given to selection of areas of study by dominant artistic and scientific modes of the particular period. Arts here used as providing criteria, techniques of observation, and bodies of recorded, achieved, experience. Points of departure but also return.

    For example the actual techniques of common study today seem to me to be of genuine relevance to anybody who wishes to grasp the best in current poetry and music. And vice versa. There is a real, living unity in our time, as in any other, but it lies submerged under a superficial hubbub of sensation. Using Frequency Modulation techniques one can slice accurately through such interference, whereas Amplitude Modulation leaves you bouncing on all the currents.

    Marshall McLuhan

    from Marshall McLuhan — Complete Correspondence,
    edited by Matie Molinaro & Corinne McLuhan

  • Ezra Pound and Film adaptations of fragments from the Cantos

    Hamilton celebrates Ezra Pound’s 128th Birthday

    By Max Newman ’16

    October 31, 2013
    Forum on Image and Language and Motion (F.I.L.M.) celebrated Hamilton alumnus and late poet Ezra Pound’s 128th birthday last Wednesday with a night full of history and experimental film adaptations.
    Associate Professor of English Steve Yao opened the discussion with a detailed history of Pound from his time at Hamilton to his death in Venice in 1972. Professor Yao claimed, “Pound is arguably the most important poets of the 20th century,” referencing his controversial support of Benito Mussolini and fascism.

    A graduate of the Hamilton Class of 1905, Pound portrayed his social and political beliefs in his poetry. “Pound’s goal was to solidify free verse as the dominant mode in American Literature,” Professor Yao said. Pound’s poems draw on revolutionary era American history, Chinese history and his own experiences.

    Professor Yao describes Pound’s poetry as “difficult” and “mystical” because of its political commentary through romance language. This is especially true in The Cantos, Pound’s unfinished poem split into 120 sections. The poem was highly controversial as politics became heated at the start of World War II. Pound takes the reader through his ideas, focusing on oppression in China due to government corruption.

    Professor Yao ended his opening words by introducing the evening’s main attraction: “Emergency-room physician in Toronto by day (and night), Bernard Dew has an aesthetic calling and artistic gift: he is a devotee of experimental poetry, and Ezra Pound in particular, and is fascinated with avant-garde film, especially the work of Stan Brakhage. In recent years Dew has brought these fascinations together in a series of remarkable cinematic adaptations of selections from Pound’s epic Cantos.”

    Many of Pound’s poems are ekphrastic, written verses in response to visual images or paintings. Dew brilliantly took the text and turned them back into images through his films portraying Cantos #49 and #116. Four years in the making, Dew primarily gathered footage from Venice, Pound’s home for the last few decades of his life as well as his burial ground.

    In Canto #49, Dew has a typewriter-at-work overtone throughout the movie as 15mm film images flash on and off the screen. The grainy collage of film allows the viewer, for even just a few minutes, to journey inside Pound’s complex poetic mind. The images move quickly from beautiful Italian architecture to abstract color flashes Dew filmed in his basement.

    In his final completed Canto, #114, Pound reflects upon the poem as a whole. “It’s especially moving to see him questioning himself,” Dew said. Rarely do poets question the legitimacy of their work, yet Pound explores his crisis in depth.

    Dew portrayed the beauty of Pound’s reflection by filming the first half of the Canto in in silence. Images of long, drawn-out ocean waves fill the screen in silence as if representing Pound’s mind at work.

    Bernard Dew offers an intriguing perspective on Pound’s legacy. Although the films will unlikely appear in a theater near you, the adaptations are slowly circling around the world depicting Pound’s poetry in a language that is universal.

    http://students.hamilton.edu/spectator/arts-entertainment/p/hamilton-celebrates-ezra-pound-s-128th-birthday/view

  • Liffissippi River to Joyce’s Poundland

    …and when the mode of the
    music changes
                               the walls of the
                                        city shake

         a perspective from relative place
                      humbled individual to their part
    in universe and other

    single individuated mind
                                          in time
    gathering tales and knick knacks
                   of history into a trick bag

    do you feel melody and riddim’
    in verse
           word sound image sandwiches
    attention to source
                       to _____ and just story

    word jazz s c r a b l e m and
    recontext’ of everything
                       in John Coltrane and
    James Joyce

                  Pound’s eccentricity flows
    to American in Europe, Joyce’s concentricity
                                           circulates the planet

    two sides of a new shiny coin
                                        ideograms on side a
                             hologrammic prose on the flip

    two torrential rivers of ink
                             bleeding shared currents
                                                               liffissippi

    Joyce’s Be-Bop and
                                 Pound’s symphonic compositions
    cut and mixed together

    Homeric history and Ulysses
                           in a conch shell sunset
                                      and a Dublin street fight

    the inner
    Joyce and the
    outer
                         Pound dynastic index
                             Irish American tell all tales

    The Cantos awake
                             a wake Cantos:
                     a dream/nightmare from
    which I am trying to awake
    (not)

                    sleepwalking giants leave
                           footprints in the mud
    trackers reverse the prints
                                          into beasts

    explicit Cantos give us facts
                  weights and measures, the dates
    places, names and flames to wit

                         implicit Finnegan offers us
    truer ficts, rubber inches,
               neurological realism and the funnies

    …like J.C’s Ballads versus
                                                       Stellar Regions
                  it’s a whole different thing
                                           consistent in its genius

                      ‘FW is psycho-archaeology
            Dr Wilson said.
                 ‘no mystery about the Cantos,
    Pound said.
                                                 they are the tale of
                            the tribe

    http://en.wikipedia.org/wiki/Finnegans_Wake
    http://en.wikipedia.org/wiki/The_Cantos
    http://en.wikipedia.org/wiki/Tale_of_the_Tribe

    –Steve Fly
    Amsterdam, 9th June, 2013

    Steven James Pratt

  • Hoggers of the harvest

    Hoggers of the harvest
    by Steven James Pratt

    “and they have broken my house” Ez, Canto LXXVI

    House of supreme court and
    whitechapel packed since 1776?

    1970’s U.S. Gov. policy trending
    deregulation to bait business
    less oversight
    less disclosure of                       information
    about banks and other                financial
           institutions

    thus, policymakers blind to
                     gangster role played by
    financial inst. investment banks
                                            hedge funds and some gov.
    funded enterprises
             a.k.a the SHADOW
                     banking system

    October 82’ U.S. President Ronald
                                      ‘star wars’ Reagan signed into law
     the Garn–St. Germain Depository
                                   Institutions Act

    sleazy adjustable-rate
                    (mort)gage loans death pacts
    the slithering process of banking
    deregu’ proceeeds
    92’ Euro-members sign
                                            mass-tricked treaty

    97′ Alan Greenspan fought to keep the
                        derivatives market unregulated
    Nov. 99’ U.S. President ‘Wild’ Bill Clinton
    signed into law the Gramm–Leach–Bliley Act
                                         more loop holes for dereg’

    01’Off-balance sheet entities
    invoked by Enron as part of the
                                           rabid scandal

    03’ Warren Buffett on derivatives:
                                     “financial weapons of mass
    Augustus Gloop is stuffing his
                face

    And if a few bankers and financiers
    were jailed we would all be
                                     better off now?

    04’ U.S. Securities and
    Exchange Commission relaxed
    the net capital rule and the shit
                                    flowed into the mortgage nappy

    06’ housing froth and bubble burst
                                   in dung-bloom burst cycle peak
    values of securities hand-cuffed to
                                                     US real estate
                                                            drop
                                                        like pennies

    Fannie Mae and co. stroll on…
                                           predatory lending and/or
    mortgage fraud,
                                                 okey-dokey

    Gov and central banks
                        react with fiscal stimulus, an iron fist
    further funny-money policy buffering
               and institutional bailouts or
                                                       jail outs.

    07’ August 7
                       BNP Paribas Netherlands
    liquidates in financial bone marrow cancer

    08’ U.S Total over-the-counter
    (OTC) derivative
    notional value rose to $683 trillion
                                              hell, a bit O.T.T mate?

    2008’ U.S financial crime wave
                                           Bang! 08-13 global financial crisis
                     Boom! European sovereign debt crisis
                                                  crisis crisis  for the love of Isis
    what of barley, rice, cotton, tax free?

    can we have balance and neutrality
    in all courts, in ANY courts?
    is their a truly honest judge
                              anywhere on this planet earth?

    and dullards CasaPound hijack a turtle
                                         and a good poets worst
    ever mistakes

    08’ The U.S. Senate’s
    Levin–Coburn Report sez
    crisis was the result of:
                                 “high risk, complex
    financial products
                           undisclosed conflicts of interest
                                   the failure of regulators
    the credit rating agencies
                                and the market itself to rein
    in the excesses of
    Wall Street”

    Greedy sneaky double crossing
                                     fraud and conspiracy to commit robbery
         were not considered seriously
    in 08’?

                                                        Hanging from a cemetery door:
                              TO BIG TO FAIL
                                                       TO BIG TO JAIL.
                                                           (1913-2013)

    Several major financial institutions
                               collapsed in Sept’08
                                             global recession, we taste
                                 the great credit
                                        crunch
    snap!

                                     number of U.S unemployed
    rose from approx. 7 million in 08
    pre-crisis…
    to 15 million by 09’

                                 and if a few bankers and financiers and ministers
    were jailed we would all have been
                                                  better off by now?

    yet the richest
                                   criminals run wild and free
    buy footballs teams, industry and
                                       daytime TV
    all to raise the price of
                                                            stocks

    09’ Another G20 summit
                                          the great new long lesser global recession
    kicks in
                  ministers only appear at night

    In Ireland unemployment rose from 4%
    06 to 14% 10′
    the national
    budget went from surplus in 07’
    to a deficit of 32% GDP in 10’
                                            the highest in the history of Eurozone
                                                     control of the outlets?

                                      According to the CIA World Factbook
    from 2010 to 2011 the unemployment rates
    in Spain, Greece, Ireland, Portugal,
    and the UK increased
                                       and Lee Harvey Oswald acted alone

    11’ financial crisis inquiry
                              committee found that…
    over the past 30-plus years
    we permitted growth of
    shadow banking system – opaque
    and laden with short term
                                          debt – that rivaled the size
                of the trad. banking system.

             “criminals have no intellectual interests?” Ez, LXXVI

    who knew the multitrillion-dollar
                                      repo lending market?
    off-balance-sheet entities? and
                               abuses of over-the-counter
                    derivatives were hidden from view
                                                            who Who WHO?

    The crisis was avoidable
                                      disinformation ops on behalf of
    international finance capitalism
                                               usuriocracy

    like giving bunk directions to an
                                      elderly blind tourist

    mass protest movements
                 errupt
    responding to crime wave
    with peaceful alternatives, some
                                   riots and open revolts bloom

    12’ By the end of 11’
                Germany was estimated to have
    made more than €9 billion
    out of the crisis
                               investors flocked like vultures to safer
    but near zero interest rate German
                                         federal gov. bonds, binds, bundles, bunds, punds

    12’ July, the
    Netherlands Austria
    Finland benefit from
                                                    zero or negative interest rates
    may the reader pause for reflection

                                              the debt crisis crime wave forced
    5 out of 17 Eurozone countries
                    to seek help from other nations
    by Dec. 12’
                                            and no such thing as public opinion

    16 Dec. 2010
    the Euro Council agreed
    a two line cocaine fuelled amendment to the
                                                      EU Lisbon Treaty to allow a
    permanent bail-out
                                  mechanism to be established
                                      by political chicanery

    the Euro Stability Mechanism (ESM)
    is a permanent rescue funding
                                      programme to suck seed
    the temporary Euro’ Financial
             Stability Facility
                  and the Euro’ Financial Stabilisation Mechanism
    July 12’

    but postponed… until
    after the Federal Constitutional Court
    of Germany had confirmed
                                              legality of the
    measures 12 Sept’ 2012
                                   dragons snort rolling in pools of gold coin

    London excluded from
    future financial regulations
    including proposed EU financial
    transaction tax
                                and crime minster Cameron juggles
    his nukes
               who tried to buy peace with money?

    26 countries had agreed to the plan
    leaving U.K as only
                             country not willing
    to join.

    in case of economic shocks
    policy makers try to improve
                                  competitiveness
    by depreciating the currency
                           as currently in Iceland
    which beat-off the biggest financial
    crisis in economic history

                                               13’ China, India, and Iran
    with sluggish growth
    some drone attacks and
                     terrorism have NOT entered
                                                            recession

    however eurozone countries
    cannot devalue their
    currency
                                            as Silvio Gessel and C. H. Douglas
    and Ez might suggest

    this may nip usury in the bud
             and present a new solution to
                                                          boom bust cycles
                                  derivatives and crimes against nature
                                                              crimes against humanity

    “A system which becomes in practice merely another hidden and irresponsible tyranny is no better than any other gang of instigators to theft and oppression—Ez, the proof of the pudding. 1937.

    –Steven James Pratt (Fly Agaric 23) 25-28 May 2013.

    Steven James Pratt