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DAMTP Mummstration – 19-20 Jan 22, Cambridge Leyline

A two day participatory workshop on decolonisation and subversive resistance to capitalism

Capricorn/Aquarius Cusp (15 PC) Sessions will begin at 13:33 (1:33pm)

19th January there will be an open session devising a new Mummers play about the decolonisation of the university. We will be making slogans banners etc. we will be innovating on the Mummers play tradition, of Winter solstice incursions by peasants and workers into the domains of the ruling class. We will also be bringing in elements of the postmodern monstration developed in Russia and eastern Europe by actionists, anarchists, psychic workers and others.

Performance of Lockdown 420 by Katya Kan @___katyakan___ at 15:33 (3:33pm)

20th January the mummer monstration will take place on the streets of the town and the spaces of the university. Performances will take place on certain points along the Cambridge leyline (notably the round church) and we will visit some other key points nearby – particularly the Trinity College to demand the return of the Gweagal spear and the funding of an Aboriginal Cultural Centre by Trinity as well as the Churchill College who recently banned their working group of Race and Empire.

the psychic workers union was formed in 2009 in Alytus Lithuania with 1-person associations from Sudan, Pakistan, Lithuania, Belarus, Russia, USA, Germany, England and beyond, coming together to resist the cultural capitalism of Europe. During the following 10 years they organised a series of monstrations and other actions, including 3 sided football matches and noise jams.

CLASS, One of the founding groups of DAMTP will be organising a two day action.

To join us or for more info contact taeateh @

Black Arts and White Houses

The art world, especially through the state funded institutions, begun courting black artists and so-called communities. Often under the rubric of diversity inclusion but never decolonisation. As it is and as it can only be, the art world can only offer exploitation for black people and for women and the working class generally. Stories of sexual harassment and casual racism abound. The case of the Tate covering up sexual abuse investigations against their rich donor Anthony D’Offay comes as no surprise. Neither is it surprising when they try to ban the work of Jade Montserrat because she raised these allegation. This is no new phenomenon and if we go back to the recent history of how black art has been instrumentalised by the establishment we can see why.

At the start of the 1990s, Rahid Araeen curated The Other Story at the Hayward, a prestigious London gallery in the south bank centre, the government run arts complex on the river Thames. This show addressed the domination of white male voices in the history of art and even the Tate acknowledges its significance. However if we fast forward to the 2010s then we see that Araeen has now boycotted the Tate because they are continuing a whitewashing of art history and are now refusing to show the Whole Story – see letter.

Back to the 80s and we see there were other artists, this time mostly white, young London graduates exhibiting together in squats in East London. This group, however, was picked up by Saatchi and championed under the title created by him: young British artists. Saatchi the entrepeneur created the artists Hirst, Emin Turk etc. the names we all know as well as their multi million pound success. The black artists from this period far less so.

What is interesting here is the work of the state and of capitalists in creating art history and how they can work in opposite directions for the same effect. It is evident that the Tate, Kettles Yard and other state funded institutions have begun to court black artists once again. But while the Black artist movement fo the 80s united Asian and African and Caribbean artists under the construct of the Black – a national liberation struggle of Blackness against the imperialist nationalism of white power – the arts council is today pushing an ethnic black construct. Its exhibitions exclude asian and other politically black artists from their programming. Araeen is a good example here. By isolating him from the rest of the black artists they are promoting they are able to individualise and therefore fragment the movement.

difference between state and capitalists ownership of art – saatchi wants to simply increas ethe value of commodities – and for this the individual artist megastar – or indeed God (star as a capitalist god) is essential. Meanwhile the state ie arts council wants to create cultural capital around its constituent “communities” and it does this to to protect its assets – priceless assets – such as all that’s looted from the colonies or the working class generally (where many of these “communities” come from) , but also particular public monuments – mostly images of the whiteman – – because linked to the land and its domination – eg buildings and spaces. …. this is where monuments are significant – they are art commodities. The treatment by the British state of the white street artist Banksy shows this where even parts of building owned by the council can be sold – the Govt. understands this eg when the city of London preserved a Banksy piece on the barbican to accompany the Basquiat exhibition a few years ago – a case of a young black artist now dead being exploited by white artist and a white establishment.

art therefore constitutes an essential organising force in bourgeois culture. It is a basis for the foundations of the city – the spaces are eld in place by the gravity of strategically placed art works that construct the senses of space, time and of class.. Statues, architecture that is the ruling class ideology made material. The street in this way functions like an art gallery – or a screen – and vice versa. The previous avant-garde techniques of detournment, derive, have returned to the working class – metagraphy, hypergraphy and psychogeography have become normal parts of everyday creativity through mobile phones and automation and technology.

This political and scientific (in the sense of the science of language and the construction of meaning) nature of art is apparent to the masses today since the means of production are common place. It is exactly this that the spectacle aims to cover up, with artworks and images. The spontaneous and free creativity and descructivity of the recent uprisings around the world, from the Arab spring, occupy, BLM show that people are able to grasp these techniques – of what the situationists called metagraphy is today used through memes. Collaborative mass paintings on statues is the technical undoing of a system of architecture that is based on domination and genocide.

the statue- monument is one of the “priceless” works of art that are owned by the state. The attempts through debate and complaint against the statue of Rhodes demonstrates this. Since 2016 uprisings the university and then the council have agreed the statue should go. But even back then once donors revealed the university would lose 100 million in the first year alone, from their wealthy donors, they baked down. This priceless nature indicates their divinity – above normal exchange value and therefore untouchable.

Labour alienation and land alienation are both necessary for the maintenance of the spectacle or cultural capital that acts as a surface to mask social relations. The spectacle therefore always conceals around the reality of capitalist relations by adding an image of utopia on top. The image which regulates relationships towards capitalist subordination. Religious or indeed art performance of transubstabtiation – the transformation of bread and wine into the body and blood of Christ also works the other way round. Ie as the bread or wine passes the lips of the faithful it becomes the body and blood of Christ- a sympathetic majik where body of the faithful becomes body of Christ ie only through the bodily process does the spectacle become real and the change to capital occur 

the power oif the image – the spectacle – as Samir Al -Khalil wrote about Sadaam Hussain use of monuments totalitarian image – in 1991. toppling of statue became an iconoclastic TV image/ moment a little over a decade later. In this was the statue is what is in semiotics terms an icon – demands identification with. Like Christ – the whiteman – to become or to be God – this is the goal of capitalist and capital – and the spectacle. all the revolutionary heroes are bound in this logic – Marx himself encompassed by the Judeo Christian epoch too, the last profit… only saw production – never reproduction nor destruction – except as a fetish – ie held as a symbol in commodity (productive) form (eg his treatment of Helene Demuth)

the symbol – or we should say sign in its 3 forms shows the journey from labour to capital ie from human to god – icon, index and symbol. the whiteness of skin is the icon but only held in place by performed sovereignty. for example the white woman becomes god not through some abstract mechanism but through the through “real”  “people”: thatcher, through elizabeast, that is the icon of white supremacy.- and the actionist too through their artists. the mechanism is the same and the effect too

The toppling of the Coulston statue, following its covering in graffiti and replacement by the hundreds of placards and slogans – these canvases and self published micro manifestos – is a form of collective creativity to be defended. Let’s note: here too that it was Marc Quinn, one of the yBa who was in a position to very quickly design and create a statue of one of the protestors and replace the Colston statue on the now empty plinth. That Quinn is white and the protestor black is also significant. Because the original ground – of Bristol Council – i.e. the British state has a particular relationship with that statue of the white slaver and profiteering capitalist. And so does Quinn, a white Franco-British artist. And the protestor is definitely excluded from that identity, that organisation, that representation and therefore subject to it. Her black presence here can very easily becomes a fetish/meme that creates capital for the whiteness that produces it here.

However, as the model Jen Reid makes clear, there is here another identity that if historical consciousness if black liberation. The moment that is captured is from a spontaneous action by Jen Reid in climbing the empty pedestal. This was documented in a Polaroid picture taken at three time and then recreated by Quinn. The fact that the proceeds from the sale of the statue will be going to black projects and charities is a crucial shift in ownership. That the charities are also both initiatives that promote and support educational projects and curriculum development of black history is also crucial. The spectacle here is entered into and literally overturned! And a new situation has been created…

the difference between maintaining and developing spectacle and the construction of situations is about the difference between capital and labour – the concrete production of alienation is what the spectacle involves but just as every commodity is based on use value it is based on labour, so every spectacle has within it the construction of a situation that can be overturned by bringing use value back, by dissalienation. recently the decolonise movement works in the same way. that is if we see colonialism as capitalism – ie the colony is the commodity – land alienation prefigures the alientaion of labour. this is the sense that psychogeography is a revolutionary – and why andrea gibbons correctly identified the fall of the Algerian section of the international as the crucial turning point of situationist theory away from psychogeography and towards that of the spectacle.

what the Actionists, like the situationists could not overcome was their own nationalist prejudices that revolved around white supremacy – because it revolved around themselves. coming back again and again to western Europe – even the final fugitives of voina escaped to western germany and others moved through Israel, the failure is engendered in the the disparity between the arab spring and the occupy movements. the same psychogeographic of overturning central town and city urban design by invading city squares – from every continent since 2000, the general or citizens assembly could not contain the democratic and anarchic force of the movements. and this is because they could not contain or express collective identity/ identities with enough accuracy to provide a decision making process that was robust enough for the people involved to be able to take decisive and intersectional  action in situ

In 2018, saatchi sponsored an exhibition called Riot art: post soviet actionim which toured western europe – curated by Masha “from Pussy Riot” among others from the interventionist and post situationist actionist art scenes across central and eastern Europe and Russia. Its worth noting that masha (and Nadya) had by now, been been formally excluded by the original Pussy Riot group due to the playing of ticketed performances (eg with Madonna) and contravening the women only rule in the band/group by stating “anyone can be pussy riot” (also with Madonna)

the history of what Saatchi – and others, including some artists from the scene – refers to as Actionism, n a performance art tradition, also has other roots and currents around it. Most of those involved don’t use the term Actionism, even in Moscow. And the interventionist guerilla performance practice that is characterised by Saatchi’s construction is no way limited or centred on Moscow or the post soviet region, whether historically or geographically. The avant-garde techniques involved most obviously date to Dada but if we really take a de-colonial feminist and working class perspective then we see these actions and activities as a common aspect of working class life in our resistance to bourgeois cultural capital all over the world. Worth noting that these methods are not limited to art or activism but also encompass spiritual and religious cultural contexts as well as, most importantly, everyday life.

We can look at the difference her between Brett Baileys art show at the Barbican in London in 2015 where he paid black performers to pose as slaves as objects of the white gaze in rooms arranged by bailey. There was a lot of reaction to this and the show was shut down by a creative interventions by black and brown and other activists and artists. The demonstration which involved African drumming and chanting was what finally lead the Barbican to withdraw and shut down the show. These methods are not (just) art ones but in African traditions have deeper and more widespread meaning and function for the formation of community. In contrast, but at roughly the same time, Crazinist Artist Wa Biene did a performance called Return of the Slaves – where many black performers entered the role of slave. He also gained criticism but it is worth noting how different this performance was. Instead of a gallery in London this was enacted at a port in Ghana where historically people were kept before being shipped and sold as commodities. We therefore see this as a very powerful situation constructed to re-empower and concentrate the participants as well as observers.

Wa Thiong’o, in outlining the decolonisational force of African theatre – in its situated location in the village, in traditional language and the division of labour, is an example where intersectional organising not just in intersections of oppression but of national identity and power – shows a Marxist theatrical form that corresponds more to bowls theatre of the oppressed (invisible, Forum theatres) or Lorca’s La Baraca. But these also did not see through the logic of nation and language. To theatre of oppressed let’s add the pedagogy of the oppressed – in the considerations of language in a relationship where student and teacher is truly equal the only expression can be asemic language. This is not just the community of revolutionaries as envisaged by Black Mask. We should here mention digital blackface or rather spectacular blackness like Luther Blissett in Italy – its no surprise that the white Italians even started a prank with a painting monkey called Loota or that the biggest right wing psychic workers militia Q Anon was inspired by them. Black Mask on the other hand did not confuse themselves with their black nationalist comrades but rejected whiteness as an act of solidarity. However they also could not go far enough to create the internationalism required – and partyl this was another failure of the avant-garde of the time.

The cause of the failure is that within Europe, politically there are different sides to the avant-garde, fascists, neo/liberals, anarchists, communists. So just as the classical avant-garde had fascists of Italian futurism, Bolsheviks of Russian futurism and German constructivism, anarchists and communists of Dada and the neoliberals of the Bauhaus so did the 60s performance art scene with Gustav Metzger going on art strike at the same time that Joseph beuys was cosying up to fascists in the green party and so also does the contemporary movement span the political spectrum. Saatchi’s riot art Actionism purposefully blurs the political boundaries between neoliberal Belarusian art theatre or Masha and Nadya with the radical anarcho feminism of pussy riot or the national Bolshevism of some of those involved in Voina and the outright anarchism and post situationists pranksters including Neoists. Voina notoriously had Nazbol fascists leading to a departure of the feminist anarchists who went on to create Pussy Riot.

The psychic workers union has always maintained a revolutionary, anti Bolshevik, communist organising platform since formation in 2009. at the Alytus Art School at the event of the anti biennial art strike against the declaration of Vilnius as the European city of culture in order ot resist cultural capitalism of an imperialistic Europe. The situation at the Europe Russia border has however still never been more critical with NATO military exercises intensifying year in. it was in this situation we began to develop the Actionist technique of monstration and to examine the various techniques that have come to fore in the last 10 years. As well as these of course there was other methods eg 3 sided football that was developed since 90s by the Neoist and psychogeographer groups in the uk.

the psychic workers sought to go beyond the limited activities of the Actionists – who remained mired in performance art and spectacular type relations – the superstar the celebrity great, invariably male, artist. Voina, the most successful; Actionist group  became a vehicle for National Bolshevism and the prevailing political climate that brought Dugin and the Nazbols in proximity to Putin and power. the best part of them split to form pussy riot – a strictly all women only feminist guerilla punk bank – no shows no tickets no performances only unannounced attacks on psychogeogrphical sites of spectacular power. like the new Lettrist international they attacked churches and created situations that intervened into official spectacles or power. it is no surprise that a group called war should slide into alliance with neo fascists . nor was it a surprise when Pussy Riot’s celebrity activists Masha and Nadiya were expelled for their alliance to neoliberal celebrities like Madonna. in fact their correspondence with Zizek from jail was also an indication of a reformist slide. here we can bypass all debate about Zizek being left wing or being Islamophobic or being misogynist – he is a man and so constitutes a move away from the radical and intersectional feminism of pussy riot (ie a national liberation struggle against the dominant nation of man). the clarity of their politics and therefore their praxis meant they were operating at a superior level to Voina but the co-option of Masha and Nadya ended this.

so while the situations such as orgies or individual attacks on art works, were well within the Situationist panapoly or arsenal, there were some interesting innovations by the actionists that we took forward and developed. the monstration is one important method we sought to clarify and use. our own monstrations sought to deconstruct firstly the language being used in banners and slogans. our own monstrations would take a full day of discussions on slogans and then of preparing and making the banners together at the Alytus art school.

One of the salient features of the monstration is that it takes the form of what it critiques, it hides in plain sight – not as a prank but as an embedded critique. The neoliberal and Bolshevik nature of the official mayday celebrations by the Russian state were enjoined and simultaneously undermined by the early monstrations in Moscow. But rather than riot art or actionist or even artivism etc we see these actions as the construction of situations – and as such place our work firmly in the linage/ geneology/ modern tradition of left communism of constructivism and situationism. However we also seek to decolonise and feminise these movements which are still stuck in patriarchal and white supremacist modes of European art culture.

The constructed situation encompasses most of what is seen as Actionism and more but it should also be noted that most of Actionism is merely elements of situations , although the same could be said about the Lettrist and situationist actions eg Notre dame intervention (by the Lettrist international) or the vandalism of statues (the Copenhagen mermaid beheaded by the Scandinavian section). It is worth noting here how these actions relate to the construction of national identity or the nation through its use of the state and religion. And how they oppose these by international (from above) or national liberation struggles (from below). For example the Algerian Section of the SI functions differently from the SI as a overarching group.

The self institution of the SI and the Algerian and other sections was an important part of their self memetisiation – the creation of metagraphy and situography. While this is an established avant-garde method it also is far older. All institutions are ultimately self instituted at some point! But once again, for the right wing the establishments of the state and capital are ones they agree with and want to strengthen. For us they must be totally transformed or abolished. And therefore new structures – physical, mental and conceptual – are absolutely necessary for the situation to be structured and stable. This is the basis for the Art Strike a(and its developed form of the psychic strike) which was essential for the formation of the psychic workers union DAMTP. The institution of various art strike committees and unions around this demonstrate their use.

Self institutionalisation of course is a long running methodology around student artists and activits. The groups around the SI during the events of 1968 in Paris is an example. The free university of New York is another example and the self institutions such as the Copenhagen Free Univeristy, Manoa Free University of the University of Openess in London are more recent examples from 2000s. The UO in fact had a faculty of Decolonisation back in 2005 after they were expelled by the London Action Resource Centre and relocated to Limehouse Town Hall. This was after their members who were also active in the refugee group Voice Refugee Froum and the psychogeographical group West Essex Zapatista, were expelled for raising issues of institutional racism in the running of the centre as well as the Peoples Global Action network. While some have written of Anarcho-Racism in describing the LARC, this is no surprise to us today, especially given the traction that Anarcho Nationalists and Anarcho Capitalists havce ghained since then and how this has contrinuted to the rise of the Alt-Right /new right etc. The circle A is, today, nothing more than a sigil which along with the star of chaos have become stripped of political or critical content and now function as signs of emotional rather than intellectual positions.

Memetics (what the Lettrists and Situationists called hypergraphics and metagraphics) in created situations of social interventions have been evident in the last decade since the orange revolution and its use of monstrations, in events such as Anonymous, the Gillet Jaune movement as well as in the MAGA hats of Trump. The use of the new psychic technologies by Trump is of course well documented.

Not least the storming of the white house by qanon and various other right wing fascist groups. The use of “actionist” techniques is visible here – performances eg by the so-called qanon shaman and even by groups like the boogie boys. The guns they carry are as symbolic as their hawaiin shirts – in the storming of the white house none of the actors opened fire despite the security services doing so and killing one of their number. This shows the guns were more like fetish items/memes in a performance. But most noteworthy here is that Qanon, despite its taking of tactics and methods of the communist left ie Luther Blissett and Q, was functioning here as representative of the US nation – a construct associated with the white nation – against the USA as a Neoliberal nation. There was no organisation at all of national liberation struggle (eg for Black power) or of an international liberational struggle.

As opposed to these white nationalists we must put forth the methodology of the international working class in their own self institutionalisation and representation. These methods are innovative as well as traditional. The current boom of painters in Haiti are linked to the practice of voodoo just like the performance art of Africa has a strong tie to traditional magical and healing practices. Just so, when we fight colonisation and colonialism in the UK we link to the folk practices that the working class and peasantry have employed for centuries, eg the mummers plays – as well as the modern and post modern techniques of the avant-garde.

The fact that the alt right storming of the white house happened during the BLM movement was making great headway into practically transforming the public spaces by graffiti bombing and vandalising statues across the USA and beyond. In England the Coulston statue came down and the state is continuing to make regulations to stop the transformation of both public and art spaces. There are also new policing and border control lawas coming in to ramp up the powers of capitalist state against the people. We therefore make this performance intervention as part of this struggle for international proletarian revolution and direct democratic control and common ownership of the resources of the production of our everyday life.

Indefinite Psychic Strike

Psychic workers declare psychic strike! In solidarity with UCU, RMT and all other fellow workers calling strike actions this month we hereby declare a data miners psychic strike.

We will be attacking bourgeois data collection systems of collection and control. We are not a workers union in the normal sense “. Not only are we not registered we don’t collect dues or have a membership list.

We see industrial and trade unions, like Marx did, as limited organs for workers power. However we also see political parties in the same way. We are for psychic workers councils and reproductive workers general councils! We therefore declare a wildcat psychic strike!

We not only refuse to produce psychic commodities of data but also we sabotage destroy recycle and detourne these for ourselves and our comrades and for worldwide proletarian revolution.

A luta continua!

Viv Ayiti: situgraphical constructions in progress

Tae Ateh is participating in the Collective Rebound exhibition at Motion Sickness, Cambridge in an open collaborative situgraphical construction.

The work starts with 3 flags of the colonial powers directly impinging on Haiti today : France, USA and Canada. The flags have been vandalised with cyanotype printing chemicals and various performative photographic exposures in sunlight – stepping pn the flag and lying on top of it.

The first collaborative painting was on 10th September at the opening party of the exhibition.

The second act of this constructed situation/ situgraphic construction was on 11th September (911) where the flags with dried cyantopye were taken outside the gallery to the nearest sunlit spot. this happens to be on the legendary Cam,bridge Leyline as mentioned by Alfred Watkins in his seminal book.

There will be further transformations of the flags during the course of the exhibition. The next one is at 11am on Tuesday 14th September at the Cambridge war memorial on Station Road, further down the leyline, as part of an action called by the activist group Women in Black against the DSEi Arms Fair in east London happening at the moment..

The final performance will be on 25th September at the closing party of the exhibition. The piece will then be auctioned to raise money for the New Viosn school in Potrt-au-Prince Haiti.

Contact Tae at taeateh at for more details on how to get involved

Tae Ateh

Motion Sickness

Fungable Situographical deConstructions: Viv Ayiti

New Visions Art School, Port-Au-Prince, Ayiti

We invite participation in a collaborative painting with comrades in Haiti – to raise power for artists and the New Vision school, Port-Au-Prince. We have come up with the initial idea and we invite other painters, artists, psychic and reproductive and destructive workers to join us.

The idea for the painting has originated with us in Haiti. We invie you to make this painting and exhibit and sell it wherever you are, in order to raise funds and consciousness for the struggle against imperialism and capitalism in Haiti. In this way we make a situgraphic, non orientable in itself, but fully and consciously fungable as part of a constructed situation of psychogeographical paintings.


“Ayiti fini, nou pa kapab ankò”

This anti imperialist action is launched on the 230th anniversary of the abolition of slavery, Haitian independence, and the psychic workers union invite you to join us.

to mark 230 years since the beginning of the revolt in 1791, we we are begining with the 3 imperialist flags: France, USA and Canada.

It was Touisant L’Overture himself who tore the white out of the flag and put the remaining blue and red together to make the flag of Haiti when they defeated the imperialist armies. We therefore follow suit, comrades may want to do this with paint or with material and unstitch flags and put them back together in different ways.

We will finally add a Loa or Veve design on top. This is to follow the style in Haiti of painting Loa and Veve designs.

Inspirational painting by Kimathi Donkor on display in Cambridge 2021

the two Loa we are employing are Ogun and Erzulie. While Ogun represents the spirit of war – destructive work, in our attack against inmpoerialism, Erzulie represents love and beauty – reproductive work.

Erzulie is also represented in the european iconography of the socalled Black Madonna – the poainting famously ripped when Hussites removed it from the Pauline monestry in Poland . the 3 rip marks on the saints face, to this day, immortalised in representations of the Loa Erzulie.

SO powerful is the psychic forcefield that a Polish artist Elżbieta Podlesna was arrested for creating a version with a rainbow halo. To honour this action we also invite play with the rainbow LQBTQI+ flag as another vertex of resistance, power, cultural capital and imperialism.

The psychic workers union is a union of immaterial producers and workers including artists, academics, educators and others. we organise to withdraw and attack the art world and other capitalist economical constructions. therefore we self organise our activities with a critical attitude to capital seeking to reverse alienation and disempowerment of the workers involved.

For us painting is not an exercise in decoration or aesthetics. it is not about creating luxury goods and commodities. it is not done for the creation of beauty for its own sake and neither is it simply a tool for the execution of this or that function. For us it is a collaborative process of creation and destruction used to transform the world and ourselves and can therefore be applied to reactionary and reformist as well as revolutionary ends.

travayè repwodiksyon sendika
Sendika travayè sichik


EXHIBITION: 11th September 2021, Motion Sickness, Cambridge

Links/ refs

Creatrix: Polish Madonna

New Vision school Gofund me:

London عرس مبارک Jerusalem

William Blake Urs Mubarak at Bunhill Cemetery, City of London


After my three years slumber on the banks of the Ocean, I again display my Giant forms to the Public: My former Giants &
Fairies having reciev’d the highest reward possible: the Revolutionary Organisation and Psychic Workers Union of those with whom to be connected, is to be Proletarian


There will be reading of Jerusalem. The Emanation of the Giant Albion by Tae Ateh during which Tae Ateh shall adorn our bodies with mehndi (henna) and perform dhamal to celebrate the Uroos (sacred union) on the date of William Blake joining the Dead Workers Union and enjoin a workers council for the psychic workers to come under the direction of the reproductive workers in order to influence and bring the destructive workers of the world under the direct control of the Proletariat.


We will also perform the Jhando by painting red over the St Georges cross to obliterate it through fire and red paint until only a flag of purest red flies high in the London sky.


Tae Ateh will perform majikal iconoclastic workings on the memorial inscription on the southern post of the main City Road gate for Bunhill Fields burial ground. This will obliterate the names and celebratin of the slave traders and Lord Mayors of London John Lawrence and Thomas Bludworth. This and the many other memorials to slave traders in and around the City should either be removed or amended.…/the-city-of-london…/

Facebook event here

Green Game: Heurlements

The Men an Tol ring passage, a faerie stargate to some, a changeling portal to others, will be opened during the Green Game to allow access to a similarly ‘other’ , or parallel, dimension.

This psychogeographic folding has its origins in early situationist map constructions – such as the use of a map of the Paris Metro to navigate the Hartz mountains and the wnla pleating exercises: Greenbay Squared (Greenwich>Glagow) & The Dresden Marrakech Complicity The forging of psychogeographic maps, and even various impostures like correlating (with little justification or even completely arbitrarily) two topographical representation, can contribute to illuminating certain displacements of a nature indeed not so much gratuitous but utterly insubordinate to usual attractions (Introduction to a critique of Urban Geography). In order to effect the degree of psychic terrain modelling envisaged, the Tournament will seek to reawaken, and form an alliance with, the long dormant Cornish Giants; those great terra-forming shepherds of the earth who were pushed to near extinction by the evils of men and their greed for land.

We speculate that the awakening can be manifest via a series of rotational three sided football games in locations of significant geo-psychic energy. The spiral channelling will induce a dédoublement of the emotional energy of the participants which, combined with the signalling power of the psychographic attractors we transform within, will convince the giants of the rightfulness of their waking and ally them to our task. Each of the games played will gradually increase the potential energy available for release upon the G7, with the final assault being projected by means of a triolectical cyclotron event on the Saturday eve, first fusing and then folding over each of the attractor locales until the projection power is at its maximum – and the psychic strike is launched.


Regarding the G7 Statues on Hayle Beach

We REJECT the use of psychic workers, under psychic infiltration, to construct idol-effigies of the G7 leaders in a key psychic location. This construction engages with the summit entirely on its own grounds and only serves to amplify, rather than critique, the concentration of power in Carbis Bay.

These idols:
CONCENTRATE the focused energy of their creators, catching it in a feedback loop between the dunes and the convergence centre
INTENSIFY the powers focused in Carbis Bay by reflecting it back upon itself
DISTRACT and deflect potential organised protest

The heads are even larger than they would be in real life.

As a group of human and non-human actors who are passionate about the destruction of the state, we urge the artists responsible to disrupt the power reflection. We REJECT the imposition of God-Head Idols on the Common Towans and hereby call for their creators to incite their ritual destruction. We encourage them to join the art strike and to refuse to cooperate further in their own exploitation!

ر Aah

“Cool who all are who are heard,

All are who some mud,

Wall em you lead,

Wall them you ludd,

Wall em, you cooler who go for one, are heard”

ق Q

Follow the white rabbit: Puck, Bacca, not Mecca but Bakkah, not Bakkah but Babaka: Karbala, Kernow, Cornwall, Camelot, Qayamat; Space, Time and Class: running together to the quantum dot, nuqtaviya, the singularity. The Abolitionists, Anakata, circle A, Hurufiya: Hazrat  Ali was King Arthur: traversing the leylines: half lines, dots, lines, plane, volume. And Ayesha as the Lady of the Lake, Queen of the Fey. Reproductive workers unite, we have nothing to lose but our games.

On Bodmin, across the Zodiac guided by nocturnal emissions, Tae Ateh was the first to arrive and the last to leave. Did they ever leave? Were they ever there? Sleeping with ghosts, in corners, bathtubs, in the hallway, waking enraged and horny, Tae had the balls. At least one, anyway. Sucking toesball, footsie ball, under the table, scrambling over stones, fucking in full view in a field surrounded by fairies cavorting and copulating in the light beams spitting off the bubbling streams wandering the leylines towards the sea, to Tintagel, Ayn Al Tamr. 3 trimensional football, the gateway of the Age of the Proletariat.

The teams appeared as if by some coincidence, yet it had taken centuries of well laid plans for this moment to arrive. Red, Black and Green – Red White and Blue – Them, Me and You. We, too, were Tae Ateh. The sound of the wind through the trees? The sound of the heart sped up by the rush of love or is it lust? You chase the ball, you’re screaming now, chanting now, intoning in a steady rhythm, tae ateh ateh ateh ateh ateah. The others look at you. The thin blue wedge of undercover cops and the Kill the Bill reactionaries, And the greenbacked Greens, by now tipping to the right, XR, XS, XXXL, exing the pxrxgrxph xxx xxxxx.

The Bakuninist white blacks, Anarcho this and that, Black Bloc as bad tactic dictated by a strategic commitment that had become a pseudo politic. Own goal after own goal, and everywhere the invisible hand of the far right behind the state whose monopoly of violence this coalition was doomed to defend. Back in 2021 only some factions of the Reds had survived, stoic in their tektological mind machines, marching towards the goal. And you, Tae Ateh, what happened to you? By now we were running without aim. Someone had handed out the mushrooms before the main battalion of police arrived. That’s if you don’t count the undercover cops and collaborators already in one team or other.

V و wwwwwwwwww

One of the players, someone I didn’t know, made a play. Somehow we ended up in the Scientology Centre, run by neo fascists. I came on my knees, genetic fluid spitting onto stone like some original sin, singularity. They had knighted Trump as a knight of the round table at this spot just 13 months before following the meeting they had arranged in Almaty with Kim Jong Un. This much was public, but less known was the presence of the Eurasianist fascist Dugin as well as members of the Sufi Order of Mariam, a US/Iranian based sect. A weird collection of Xtians, pagans and other extremists had planned for a ritual sex sacrifice during the G7 so that Protestant, secular Jewish and Wahabi islamo-fascists united in the form of a Druidic coven that lay behind the Order of the Garter could create the necessary spiritual power field for the D-10 to launch the rival 5G network to the CPC. Well that was the cover story.

Behind it was the ongoing struggle amongst the ruling class to control human ejaculatory fluid: the only ingredient that could lubricate the machines that the reptilian overlords required to bring the Freemasons of the Future into existence. Human ejaculatory fluid is obviously well known to be among the finest in both quality and quantity. Even the Gods agreed. Anyone can be a Reptile or a God or a machine or a mammal. But to be human was to fuck up. Control and regulation of human ejacula has been the primary commodity, not gold or petrol or adrenochrome or whatever the latest heroin was, for the last 6,000 years. Ever since the start of the Tzolkʼin, the Kali Yuga, Biblical End Times. But this was 2007, all far behind us now. I approach orgasm and you hesitate, the rhythm abates, replaced by the rush of the stream, faeries scatter in disarray. You’re unsure, past horrors resurface. A spectre haunts us but its not Communism. But then we are not (of/ in) Europe. And yet we are. And they are. Body, border.

And suddenly they’re upon us. The droids, even this computer, are more human than the human storm troopers. They’re all arriving at Goonhilly. 5, 4, 3, 2, 1. The Black Cube of Saturn teleported into Carnivore Bay, Carnal bhai, the Heads of State of the Allied and Axis powers along with key neo-colonial allies, G7 and D10, were beginning the grand Freemasonic ceremony that would help them usher in a new British monarchy with King Harry 1st and his Queen Megan. WILLIAM I AM VI VI VI was to be the last of the constitutional monarchs following the English Civil War Boogaloo. For the bourgeoisie, time was beginning to run backwards since 2007. Bourgeoisie and Aristocracy were folding into one, once more. Russia and China, the 2 invisible members that then went from G7 to D10 to C12, were the hidden Proletariat. Along with North Korea and an army of hidden Ayotollahs, reality floods my mind. I’m spinning, no up, no down. Only you can bring me down to Earth.

Aah ہ وا

“Have you got the rings?” Tae Ateh asked.

Billy Marshall slid the three rings out of the small leather satchel he had been carrying. They were arranged as the rings of Borromeo. He had picked them up from Isola Bella where they had been used in a ritual to consolidate the Stresa Front. They were designed in such a way that no two rings are linked as in a chain yet all three are inseparable. Break any single ring and the other two are completely unconnected.

Back in 1935 the colours used had been blue – embodied by Pierre-Etienne Flandin, Prime Minister of France, red – this was Ramsay McDonald, of course, Britain’s Labour Party Prime Minister. To add a sinister tone to the occasion, Mussolini embodied black, i.e. Fascist Italy. Both he and his entourage of picked men from the  Moschettieri del Duce did not simply wear black shirts and ties, but also black fezs adorned with a silver eagle. Mussolini had thought this would impress Flandin and McDonald, but he had misjudged them. They regarded the man as an odious fool with whom it was necessary to do business. Attilo Teruzzi fluttered about the great leader, all beard and whiskers while Achille Starace made little attempt to conceal his boredom. He had only come to the island to work on the proposed invasion of Ethiopia. He easily tired of diplomatic niceties.

Nicola Bombacci had expressed a desire to be involved in the ritual, but McDonald had drawn the line at this. Engaging in sex-magic rituals with fascists was one thing, but Bombacci had adulterated his fascist sympathies with a lifelong commitment to Bolshevism. McDonald had never forgiven Lenin and his cronies for invading Georgia, deposing the Social Democratic government there and restoring Russian Imperial rule beneath a paper-thin veneer of proletarian culture. Bombacci had been recruited to become one of the top agents of Proletkult serving on the Executive Committee of their international body. This meant he had to endure the loathsome Gramsci, something he endured with what he regarded as excessive fortitude until Gramsci was rusticated. However when Togliatti took over from Gramsci in running the Communist Party of Italy, it was not long before Bombacci’s name was scrubbed from the membership roster.

م Mm

Mohammad, Mercia, Offa, Arthur, Merlin, the pen-ultimate bard or the Seal of Prophesy, the Prophet and the Messenger but never the Messiah, the Rejoicer, channel of the Angels message from the Source itself, the largest and oldest of the Goonhilly Space satellites, stood erect in the night sky, a steady stream undisturbed by material concerns, from angels’ tablets and daemons laments, the perfected free flow of data from past, present and future: dates, names, places, deaths, births, the book, knowledge, the law, the customs – through Gabriel Gwinevere, from the one true source of all data. At the moment of orgasm you receive our full instruction from the Societyes Without Space Time and Class, and psychically transmit it across the somatic body of the working class.

At the same time, a game of Trimensional Football had begun at the old Carn cottage at Zennor, twinned with Xennon, an old smugglers lookout on the very coast of Cornwall. It was more than this though. The legend of Crowley’s occultist ritual sacrifice was used as a cover to hide a whiter lie. The cottage lay on a tributary of the Dragon line and marked another point along with the Scientology Centre at Tintagel where psychic entities from other dimensions were entering this reality. An interdimensional erogenous zone, ravaged and plundered and ripped into a border checkpoint. It was easy to fold into the Freemasonic Knill-Hillists Monphalus at Carne Bay where local girls were forced to dance every year at the Summer Solstice in order to process their souls into the fabric of the mythical landscape. Even the mass accumulation of orgone rays brought about by the amassed military might of the white supremacist nations, Allies and Axis united in Neoliberalist dictatorship, was channelled into the final psychic repodestructive workers strike.

ن n(oon)

The midday sun at midnight, but for those 10, in that oceanview hotel, after the organized and revolutionary sex workers, who sang songs of decriminalized worlds and the abolition of police and prisons, had given head and left the heads of the heads of state in a state of ongoing and infinite expansion. No one within a local radius of 99 cubits (of space time class) could escape the psychic spiritual fallout from the after blast. In fact the shockwave was felt, not in the visual or auditory electromagnetic trimensions, nor even the electromagnetic trimensional field of the skin, but in the sensory trimensions of taste, fullness, oxygen, meteceptual hyperception: the heads of states bowels and hearts too began to expand. The full horror and gravity of hell was unleashed on their very bodies. Beyond violence and non violence of XR and the other groups, that passively reproduce the states ideology of white supremacism and patriarchy as natural violence, lies the future of non productive work: the psychic, the destructive must succumb to the reproductive, the autonomous production of the working class.

Black, not the recuperational anti-black white black of satanic witchcraft of the alt-right or the black blocs and flags of the national anarchists but Black Black of dark matter and energy, of the absolute other of white power or the light of the Sun of God. Of Afrikan Kemetik society upon whose suppression and realisation the Illuminati Freemasonic system of Capitalism is founded. Of absence, like the Intersectionalists from the political representations of the Left at Qernow Bay. At intersections in the Matrix we pause, like the ball ricocheting off the pinball walls, hierarchies inverted: the otherised workers from sexual social and spectacular colonies old and new, Africa, Asia, America, Australia and now Aestern Auropa at Zennor, the world turned upside down because in/out of space, time and class, there is no way up. You cum and cum again. Because you were here, you were here, or because you will be here, or someone else was then we were. You are every woman. And everyman. No one move. No one gets hurt. Nisa, not Woman or other, but a class: the worker, the less organized or stable, without resource or capital: not abled or differently or dis, the movement of the unable-to-move. Force without the possibility of violence.

That night, the mass mainstream murder media broadcast news of a terrorist attack. Biological warfare that had flooded the lower floors of the hotel with sewage unleashed from the very bodies of the world leaders. There was no terrorist attack because the occurrence of violence ever being separate from that of the organization of the state is a material impossibility. Within a few cosmic days the monarchies and the governments and corporations collapse, taken over by the direct democratic congress of all people in all situations. The working class of the worlds at work on the free form production of endless streams of love juice flowing like rivers of love.

The Kal of consent, in Kernow and elsewhere, is dependent on knowledge and truth between the workers. The intersections at which information flows regulate where and when data becomes information becomes knowledge and as such flows also in the other directions. Death is pure data. No information. The end of knowledge. The planned ritual sacrifice did not materialize. Instead of 1 to die it was 10. No workers were harmed in the making of this situation. 

Botany vegetables plants antique engraving illustration: Small Broad bean

ب Be

Bakkah, Babakah, Babylon, Bye bye Britannia 

Tae Ateh realised the deadline was approaching. But then the doorbell rang and the smiling chap from Amazon was there on the doorstep parcel in hand. Tae Ateh accepted the parcel, and it was soon unwrapped. They held a copy of Writing Science Fiction and Fantasy (Twenty dynamic essays by today’s top professionals). This 1993 classic was the vade mecum for science fiction writers. Tae Ateh quickly thumbed through for the Robert Heinlein essay “On the Writing of Speculative Fiction”. Heinlein discusses a genre of story first described to him by L. Ron Hubbard:

“The definition of a story as something interesting-but-not-necessarily-true is general enough to cover all writers, all stories – even James Joyce, if you find his stuff interesting. (I don’t!) For me, a story of the sort I want to write is still further limited to this recipe: a man finds himself in circumstances that create a problem for him. In coping with this problem, the man is changed in some fashion inside himself. The story is over when the inner change is complete–the external incidents may go on indefinitely.”

Heinlein gives some examples:

“People changing under stress: A lonely rich man learns comradeship in a hobo jungle. A milquetoast gets pushed too far and learns to fight. A strong man is crippled and has to adjust to it. A gossip learns to hold her tongue. A hard-boiled materialist gets acquainted with a ghost. A circle is squared. This is the story of character, rather than incident. It’s not everybody’s dish, but for me it has more interest than the most overwhelming pure adventure story. It need not be unadventurous; the stress that produces the change in character can be wildly adventurous, and often is.”

Psychogeography, ghosts in Cornwall and Limitless Matriarchy 2020 Winter Solstice until 2021 Spring.

I am presenting some chronology of my journeying from September 2020, which has led me to where I am today.

A star 

There is so much to remember, so much I attempt to keep a track of, but my ADHD mind just keeps cycling forward into the new web of symbols I have to integrate, usually on a weekly basis. New ghosts, new personalities, new vistas always emerging. 

I am going to start the process here to be transparent about my work. And use this as a marker point, which is how I like to track time and space, continually revolving in a circle. Every time I look back another symbol is altered and renewed, a meaningless dream becomes common sense, a psychic connection becomes confirmed, and a star flashes in my periphery. 

My eyesight is weird, and I have a memory issue. 

When talking to old friends who remind me of past events, phrases or jokes we said, situations, groups or parties…sometimes I am a total blank. My childhood is patchy but over recent years I have been able to retrieve more and it can be uncanny. What does come up clear in my memory is fragments of dreams during a specific era age 9-11, moments of some kind of Qi rushing my energy as a puzzle piece is clocked together in my head whilst just standing at a train station or something.


Symbols. Since around 18 the number 53 followed me around. I’m on a street sometime and I turn around, I see the door number 53. 53 bus, 53 bins. 53 on number plates, 53 on the clock, pages of books, statistics, news stories. Most likely confirmation bias but I don’t know where it began. I looked up the Biblical meanings and the I-Ching meanings. It still just follows me when I’m not thinking. Sometimes I’m like ‘I’m about to turn my head right now and I’m gonna see it’, and there it is. I noted that Terrence McKenna died at age 53, and he was the figure that guided me into taking psychedelics and accompanied one of my ‘famous’ trips (I say famous in terms of my own psyche, everyone in there focuses on it). I last year found out Caroline Crawley of Shelleyan Orphan died at 53. She was an underrated but ethereal singer from Bournemouth, in a kind of romance with death. This is where I’ve been living the past few years until my grandfather passed. She has personal significance in a relationship with a musician I entered last winter. A part of me wonders what if this is my death calling. 

The spiral

After a split up last summer, I began a spiral, a spiral to seek my sovereignty, a spiral to exit my learned helplessness, a spiral to become a woman. Of course I was inadvertently inching towards my Saturn return. It was drawing me into it’s oblivion grip. I live a quiet life really just on the edge of normality if I can, where I do my psychic work. This is a continuous and invisible toil to most, apart from those who also see. I’m hoping to change that, with my visibility practice. Something about my eyesight playing with this too.

Okay so, there were a number of quickly shifting momentous events unfurling during my Saturnian spiral. 

It went a little like this: Feeling Suicidal, A trip to Cornwall, A Tattoo, An Acid Trip, An Astral Rape, A Love and Breakup and then the final meeting with a Karmic Spirit. Aleister Crowley. I will expand on these archetypal topics in time but this is the timeline for reference. Crowley (who I will refer to as C) seemed relevant to an aspect of my understanding of patriarchy that I had not understood before. I thought my DNA could be of interest to him, or it be cultural and political. Mostly what I started to notice was that something about Cornwall was whirling me into a portal (see Instagram videos). Something was not welcoming me, and my aura had awakened and made feverous some sprites, ghosts, faes, spriggans and pixies. Most of these I could see and hear, like a tickle, teasing, orbs or visions.

Limitless Matriarchy

I also found myself lost and scared in the Cornish fields the night before my Saturn return began. As I was there during this time, Mr C began to visit my dreams, cajoling and bribing me into astral sex (he was known to be like this), encouraging my wildest dreams whilst revealing disgusting demons and jeering at me. It felt like an emotionally manipulative relationship, in the sense of what I’ve always had trouble with which is male wizards feeling threatened by me. It was almost flattering in the sense that the irritation I knew was coming from the source of knowledge that I was an equal. I was drained though. I was called to complete ‘Limitless Matriarchy’ spell-work at two major sites. One at C’s house, the address of which was revealed to me on the eve of Christmas by a delusional neighbor knocking on the door and coming in to discuss trivial matters which quickly turned into Cornwallian Magick talk. And secondly at the Castle and scientology center at Tintagel. Whilst visiting Tintagel I was lucky to find a deck of deck of cards from a local crystals and new age store relating to Kuan Yin, a Chinese God Mother I pray to for protection.

Comrades synchronised

C kept following and introducing me to entities. Online connections from America also noted distinctive events with his spirit involved (to be made clear again later). I grew closer to the witches somehow drawn into this curious circle of interest. My dear comrade Tae Ateh aided in all of this through clarifying the lens of understanding and connecting the dots hyper dimensionally on the website which you can look into at It was 2 weeks later confirmed that the G7 summit would be held at Carbis Bay in Cornwall. This did not seem a coincidence seeing as C was involved with the British intelligentsia and politicians, and more than just C’s presence there were these other entities side-eyeing me around this event. There was also the very relevant question of why on earth were my family living at this precise location at this time, 5 minutes from C’s house and 5 minutes from Carbis Bay. I thought Lucky me!

Astral realm

Back to Bournemouth, the connections were interesting again; the music of 80s poetry folkish band Shelleyan Orphan would reverberate my heart as I was called to go deeper into a relationship with a person who I had been in conversation with since around 2018. The lyrics to the songs would resemble days of my life alone in Bournemouth. Passion fruits I would find on the side of the road, churches, the seaside air and the sun through the trees. In our fleeting relationship the conceptual ideas of our projects and dreams grew bigger, and bigger but sadly our emotions volatile and disconnected. Around this time another online relationship with a couple would unfold where I would be unconsensually used in a sexual fantasy in the astral plane. More people came forward with astral sex dreams with what seemed to be a phantom of myself I had obviously sent out half conscious half unconsciously. 

I finally spoke to a friend who recommended me a woman to speak to about this. How it was related to ‘the work’, my work. This woman ghosted me after a few tries at conversation, and just like that. I saw these events as just plain ghostly. C’s cajoling in Cornwall had opened me up to some attachments and created doubles getting busy all over the astral plane in all sorts of locations. I knew the erotic was powerful, but I had not felt it being used in some kind of tactical affront to my consenting. Of course it was merely a message to integrate the deeper significance of my playing with the subconscious sexual underworld of the Internet and ghosts. And BE CAREFUL! 

New Forest

As things ticked closer and closer to my brain detonating from the banality of synchronicities, my best friend and I took a trip to the New Forest where we have built a relationship with over the years. We were there to do some situational enchanting of the land, but just before beginning our spell-work a group of horses came plundering towards us, then running through the water we stood by. The electric frequency of their beating hearts zapped us into presence. You can research the powerful effects of the horse heartbeat on a human. We spent the day in a trance, padding across the moss, mud and freezing stream dressed in rags, shaking our asses into the sunset. We left the day, not knowing exactly what we had just done, only that the new world would have to be alliances between all women. I uploaded a video onto Tik Tok of our day and the intermittent reinforcement also decided to reward me with 21k views. I take nothing as coincidence even with algo.


Patriarchal and colonial spirits continued to attack me during the worst lockdown we’d had. I was suffering very much at this time. My support net was mostly online, and my best friend nearby alongside some neighbors and my therapist I am incredibly grateful for. I had little guidance for the intensity of my psychic world and the quests I was relentlessly called to pursue. I would fizz up in the day whilst trying to work on my Yoga business, and have to leave the house to speak tongues into tree bark. I would stare into the ocean and hear a high-pitched ring followed by a consultation with a group I tend to label as the Arcturians about ‘the future’. One word they kept saying to me ‘remission, remission, remission’. Obsessively reading my tarot, I was not able to go a day without the depth of synchronicity growing more and more. Eventually I concluded there was nothing to ‘come’ from it. I had to learn the over-bearing connectivity of all life, power, animals and relations at all moments. This took me closer to animism of which I am now practicing and much healthier for. 

I was revived from my fatigue and illness by an old ex who came to me to check up on my health. Thankfully his sincere meditation and spirit work with the writings of Sri Aurobindo and The Mother were exactly the medicine I needed for what I experienced as multiple possessions and attachments from getting too involved with the heavy energy of the Patriarchal worker spirits. I wish not to go into details but exorcisms were practiced for several weeks until I was cleared of the entities as well as the energetic signatures of tortured witches. Mirra Alfassa and Arthur the Great were the key spirits in protecting my body and health at this time. The word ‘schizophrenia’ haunted me with the Western psychiatric context, whilst I integrated the portal I had fell into partly by choice. My therapist worried about a more serious mental health issue. I was chronically exhausted and in pain, and filled with anger and woe. My dear friend coaxed me back to health like a feral animal, whilst I growled constantly fighting against it and self-neglecting. Fearing a violent death following my nightmares of being sacrificed by the patriarchy, visions of the worst dystopia but also intermingled with luxurious fae worlds and midnight gardens (the work of the pixies and spriggans). 

Spring cleaning

A week came in Spring where I finally could rest, there were no hauntings, I drank hot Cacao every morning to tend to my broken heart, walked in the park to watch the ducks, was comforted and loved by my spirit sisters, ate steak, self-massaged and tried to accept her (death) or myself. I cleared out my entire flat in Bournemouth and threw out all the garbage of my past. After this, things started to improve again. 

I still work with death right now. She is our fear of the future, our fear of the present. She is the one thing we cannot know, and therefore the demonstration of our humility. I wish to keep walking, further, further, I want to ‘see’. I like to sit back and absorb, let the world come to me. The world would do well to stop. Let her come. 

Thank you for your time in reading this, and remember: the best is yet to come!

With Love,