I dwell in the space that exists between the stars. it is here that I find true freedom, for that which cannot be seen cannot be controlled!

WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earthworks as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy.

Pick someone at random & convince them they? re the heir to an enormous, useless & amazing fortune -- say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. Later they will come to realize that for a few moments they believed in something extraordinary, & will perhaps be driven as a result to seek out some more intense mode of existence.

Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc.

Go naked for a sign.

Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty.

Graffiti-art loaned some grace to ugly subways & rigid public monuments - PT-art can also be created for public places poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, xerox-art under windshield wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement...

The audience reaction or aesthetic-shock produced produced by PT ought to be at least as strong as the emotion of terror - powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst - no matter whether the PT is aimed at one person or many, no matter whether it is ? signed? or anonymous, if it does not change someone? s life (aside from the artist) it fails.

PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media) Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now.

An exquisite seduction carried out not only is the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life - may be the ultimate PT. The PTerrorisist behaves like a confidence-trickster whose aim is not money but CHANGE.

Don? t do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don? t stick around to argue, don? t be sentimental be ruthless, take risks, vandalize only what must be defaced do something children will remember all their lives - but don? t be spontaneous unless the PT Muse has possessed you.

Dress up. Leave a false name. Be Legendary. The best PT is against the law, but don? t get caught. Art as crime crime as art.

ART SABOTAGE
ART SABOTAGE STRIVES TO be perfectly exemplary but at the same time retain an element of opacity -- not propaganda but aesthetic shock -- apallingly direct yet also subtly angled --action-as-metaphor.

Art Sabotage is the dark side of Poetic Terrorism -- creation-through-destruction -- but it cannot serve any Party, nor any nihilism. nor even art itself. Just as the banishment of illusion enhances awareness, so the demolition of aesthetic blight sweetens the air of the world of discourse, of the Other. Art Sabotage serves only consciousness, attentiveness. awakeness.

A-S goes beyond paranoia, beyond deconstruction -- the ultimate criticism -- physical attack on offensive art -- aesthetic jihad. The slightest taint of petty ego-icity or even of personal taste spoils its purity & vitiates its force. A-S can never seek power -- only release it.

Individual artworks (even the worst) are largely irrelevant -- A-S seeks to damage institutions which use aret to diminish consciousness & profit by delusion. This or that poet or painter cannot be condemned for lack of vision -- but malign Ideas can be assaulted through the artifacts they generate. MUZAK is designed to hypnotize & control - its machinery can be smashed.

Public book burnings -- why should rednecks & Customs officials monopolize this weapon? Novels about children possessed by demons the New York Times bestseller list feminist tracts against pornography schoolbooks (especially Social Studies, Civics. Health) piles of New York Post. Village Voice & other supermarket papers choice gleanings of Xtian [Christian] publishers a few Harlequin Romances --a festive atmosphere- winebottles &. joints passed around on a clear - autumn afternoon.

To throw money away at the Stock Exchange was pretty decent Poetic Terrorism -- but to destroy the money would have been good Art Sabotage. To seize TV transmission & broadcast a few pirated minutes of incendiary Chaote art would constitute a feat of PT -- but simply to blow up the transmission tower would be perfectly adequate Art Sabotage.

If certain galleries & museums deserve an occasional brick through their windows -- not destruction. but a jolt to complacency -- then what about BANKS? Galleries turn beauty into a commodity but banks transmute Imagination into feces and debt. Wouldn? t the world gain a degree of beauty with-each bank that could be made to tremble ...or fall? But how? Art Sabotage should probably stay away from politics (it? s so boring) - but not from banks.

Don? t picket - vandalize. Don? t protest -- deface. When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate. Smash the symbols of the Empire in the name of nothing but the heart? s longing for grace.

destroy the evidence