Flames of False Economy -The Big Chill
A fireside interactive situation examining the bureaucracies of exchange, commissioned by the Big Chill Festival 07, C6's yurt bank accompanied a lantern lit fireside lounge. As the kettle boiled on the fire those around the fire sipped their expensive (£2300) mint tea engaged in conversation.

Perugia italy

Open source weekend where methods of free exchange were discussed and presented. C6 presented Diy Survival a print on demand title C6 had collated. Cheap to buy or free to download, the processes involved in developing collected works to print and web were dicussed in relationship to C6 practice.

Introduction

I
The death of Isou marks the end of the Age of Divinity. It was the Lettrist Fazlullah Hurufi, the

Seal of the Saints who opened the age of divinity. It is closed by Isidre Isou, who we proclaim as

the Seal of Divinity. Are we to hereby declare the Age of the Proletariat?
II
While the religious problem in Isou’s Lettrism was answered by ‘the movement’ with a rejection of the

proletariat and with the worship of the innovator – the creator, this sell out, this mystification,

291 Gallery Hackney Road, E2, London
Part of the 'Stunners' show put together by 'Hydra' live art. C6 presented its A.M.S. (Anger Management system) The work was suitably hijacked by anti war sentiment.
Phone + 44 (0) 709 200 9270 or email images to : fuckyou@C6.org

Lecture - St. Martins School of Art, Southampton Row, London.

Talk given to Ma Industrial Design on censorship of public space and strategies of overcoming and reclaiming.

HayVend commission Supported by the arts council of England Cross platform digital interactive for distribution on a floppy disc.

What are the Dostmasters?
The Dotmasters are a series of popular fine art masterpieces for the urban environment. The works are stenciled onto unwitting gallery walls and subsequently defaced. These acts of vandalism endeavor to question this acts classification as a crime. Can beauty be used to damage property? Is the vandalism of a white wall greater than the vandalism of the culturally respected image?