{"id":1433,"date":"2006-04-05T11:03:53","date_gmt":"2006-04-05T18:03:53","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2006\/04\/mining_the_past_again\/"},"modified":"2006-04-05T11:03:53","modified_gmt":"2006-04-05T18:03:53","slug":"mining_the_past_again","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2006\/04\/mining_the_past_again.html","title":{"rendered":"MINING THE PAST, AGAIN"},"content":{"rendered":"

\"Lenin\"LeCame across this:<\/strong> An essay by Raphael Sorin, “Le mouvement ‘Cut-Up,'” in Le Monde, 25 fevrier 1972, about The San Francisco EARTHQUAKE little magazine, Nova Broadcast Press, “Cut Up or Shut Up,”<\/strong><\/font><\/a> “The Braille Film,”<\/strong><\/font><\/a> “Twinpak”<\/strong><\/font><\/a> (with an illustration), “la poésie visuelle politique,” and so on. Sorin’s article is part of a two-page spread, “LA ‘LITTÉRATURE’ SAUVAGE,” which also includes Jean-Michel Palmier’s essay, “Quand Lénine devient Mickey,” about Abbie Hoffman, Allen Ginsberg, and others. Ain’t dat a kick in da head?<\/p>\n","protected":false},"excerpt":{"rendered":"

“Cut Up or Shut Up,” “Twinpak” (with an illustration), “la poésie visuelle politique,” and so on. Sorin’s article is part of a two-page spread, “LA ‘LITTÉRATURE’ SAUVAGE,” which also includes Jean-Michel Palmier’s essay, “Quand Lénine devient Mickey,” about Abbie Hoffman, Allen Ginsberg, and others. Ain’t dat a kick in da head?<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1433","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-n7","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1433","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1433"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1433\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1433"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1433"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1433"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}