Requiem for a Defunkt Startup State

 Five scenes… associative, distributive…building a hack into….

Requiem Hack..
Requiem Hack..


Marcel Thougths, Salomon Zdunska, Joseph Wola, Marie Awagne, Tovah Djalochinsky, Sarah Bleekhoof…

Event in Z.W.
Event in Z.W.



First Scene:

Hackerspaces are community-operated physical places, where people share their interest in tinkering with technology, meet and work on their projects, and learn from each other. is an informal volunteer network of such spaces, maintaining community services – including a wiki for everyone who wants to share their hackerspace stories and questions, mailing lists, XMPP services, a blog and a feed aggregator, and many others. From around the world, hackers meet on the Freenode IRC channel #hackerspaces.

Waiting in Zdunska Wola
Waiting in Zdunska Wola

Second Scene:


Tel Aviv Makers Intl. (TAMI) is currently the largest hackerspace in Israel. We are an active community of about two dozen hackerspace members, and many more visitors and friends. TAMI is home to many activies ranging from hardware, electronics and woodworking to free and open-source software, biology and food hacking.

The space is open almost all the time, 24/7. Members have keys, and visitors are always welcome!

Event in Z.W.
Event in Z.dunska Wola

Thirt Scene:





“It’s a stinking world because there’s no

law and order any more. It’s a stinking

world because it lets the young get onto

the old like you done. It’s no world for

an old man any more. What sort of a world

is it at all? Men on the moon and men

spinning around the earth and there’s not

no attention paid to earthly law and order

no more.  see here


Code Zdunska Wola 2015

Code Zdunska Wola 1941


My "Many Worlds": an Event...

Fourth Scene


…..research into a cultural universe that seems, like its physical counterpart, to be expanding at an increasing rate.

“The intensity of Boucher’s musical obsessions can make her seem like a mad pop scientist. On her bustling Tumblr page, she keeps track of her research into a cultural universe that seems, like its physical counterpart, to be expanding at an increasing rate. Her followers might encounter a snippet from the Japanese soundtrack composer Yoko Kanno, or a fan-made video set to the music of the electronic producer Aphex Twin, or a recent Selena Gomez single—which, Boucher has discovered, sounds particularly arresting in a car equipped with subwoofers. In her own songs, Boucher takes delight in rewriting the old music-industry story of the female performer in the spotlight and the male mastermind behind the curtain. “It’s like I’m Phil Spector, and then there’s Grimes, which is the girl group,” she says. She got her start in Montreal, part of an underground experimental-music scene, but now she herself is the experiment, as she tries to figure out what “pop star” means in 2015, and whether she might become one.”

see HERE

Event in Z.W.
Event in Z.W.

Fith Scene:

Do Iranian Clerics Dream of …..or

Do Androids Dream of Electric Sheep? see here

“In August 2015, shortly after the signing of the nuclear deal with Iran, the supreme Iranian leader Ayatollah Ali Khamenei published a book of 416 pages under the title Palestine. The book carries one central message: the urge to annihilate the state of Israel and establish the state of Palestine in its stead. According to Amir Taheri, who got hold of the book early, the three key words are: “nabudi,” which means “annihilation,” “imha,” which means “wiping,” and “zaval,” meaning “effacement.”

Khamenei claims that his strategy for the destruction of Israel is based on “well-established Islamic principles” one of which is that a land that falls under Muslim rule can never again be ceded to non-Muslims. He provides various reasons why Israel, which he terms “adou” and “doshman” (enemy), should be destroyed. First because it is the loyal ally of “the American Great Satan,” second because it has waged wars against Muslims on various occasions, and finally because it occupies the third holiest city to Islam: Jerusalem.

In what has become standard language in the anti-Semitic jargon, Khamenei describes Israel as “a cancerous tumor” whose elimination would mean that “the West’s hegemony and threats will be discredited” in the Middle East. In its place, he boasts, “the hegemony of Iran will be promoted.” The message is hardly a subtle one.

The timing of the publication was no coincidence. It was meant to celebrate Iran’s victory over the “Great Satan,” the United States, and more specifically the “Little Satan,” Israel, which had worked assiduously to forestall the nuclear deal. To propagate his message all over the world, he then prophesized that Israel would cease to exist within 25 years.” See HERE



‘Rembrandt’ an Alien on Spaceship Earth

On a personal note. After the closing of my last exhibition at the Kibbutz Gallery, I felt the need to rethink how my exhibition, receiving a modest response, survived this traumatic chaotic art event amid the outside labyrinth of  curators, museums, galleries, art dealers , auctions, hordes of artists each one confined in his solipsist  studio, the art academies with their aspirating students , the art critics  vagaries consecrating,  expulsing or ignoring whoever is not in good terms with their private agendas.

A second moment of rethinking the whole situation was  caused by an  insidious though: what if it was not my exhibition but that of a yet unknown modern Rembrandt?

Well this is indeed a bizarre though. To prevent any mistake  I declare that I am not the man to incarnate any Rembrandt at all. And to prove it here is a drawing I made  in 2007, named ‘Joseph telling his dream’ representing the biblical story of Joseph and his brothers:

My drawing does not show how Joseph told his dreams to his father and brothers. Instead we see wiggles representing Feynman diagrams hinting to the underground world of possibilities and incertitude hiding under our seemingly solid classical world represented by Rembrandt classical etching made in 1668.

So, in complete antithesis too my above drawing,  Rembrandt’s famous original etching with the same name (see below) is in terms of virtuosity, empathy for the biblical story and his overall genius in building the psychological portrait etched in the copper plate and the vibrancy of the printed etching –rocketing the sky of what we accept today as the ultimate art canon. Attributes I can not claim for my drawing.

Well his actual universal fame was historically not always the case:

…”Rembrandt is now universally considered one of the greatest painters who ever lived. This was not always the case. In his lifetime he was ranked below the Italians and certainly below his contemporary Rubens. Some considered him to be the greatest Dutch painter, but many would not have accorded him even this lower status.”.. see more on Genius Ingnored

So perhaps I rephrase my insidious tough: What if it was not my exhibition but that of an  alien genius, acting as a modern Rembrandt?  How would we identify him  today in year 2010.   One thing is pretty sure he wouldn’t paint like the 16th century Rembrandt. The curators or critics or the so called connoisseurs, equipped  with their conventional art tools, would look  at him with a blind eye  and consecrate their human Rembrandt according to their no-alien art canon when faced with the emerging of the unfamiliar.

Lets not forget that one of the most praised attribute of his painting was the dazzling blaze of  light  his vision invented trough the use of oil colors. And if so, wouldn’t  the modern alien Rembrandt be fascinated by the actual theory of light: massless photon traveling in spacetime under quantum mechanical rules, and ‘ paint’ with them directly  his new version of the biblical “Joseph telling his dream”?

Well, in a similar vain,  the architectural  imagination of Lebbeus Woods, an experimental architect with an extraordinary drawing mastery, inspired him to think and visualize a Cenotaph  commemorating  A. Einstein as a spaceship  in deep space (reminding me of Artur C. Clarke‘s  novel Rendervous with Rama) , and as he posted on his blog:

“The Einstein Tomb project was created as a memorial to the life and work of Albert Einstein, a symbolic structure in the same spirit as Boullee’s Cenotaph to Isaac Newton. Because the self-effacing Einstein—who transformed physics as much as Newton before him—explicitly stated that after his death he wanted no such memorial as a site of veneration, I designed it to be launched into deep space, traveling on a beam of light, never to be seen in terrestrial space and time. However, owing to the gravity-warped structure of space (which Einstein’s greatest work—his theory of gravitation—described) it would return to Earth in sidereal time, an infinite number of times, or at least until the end of time and space at the death of the universe.”.. see more on his blog.

Einstein’s Tomb.

Source: Lebbeus Woods

The above drawing, representing Einstein’s cenotaph in outer space, is literally light years away from the usual cenotaphs. In the same way  our contemporary art pundits are light years away from the modern unknown Rembrandt, perhaps their next door exhibiting artist.