Klf Quotes

The aim of Operation Mindfuck was to lead people into such a heightened state of bewilderment and confusion that their rigid beliefs would shatter and be replaced by some form of enlightenment.

Others in the ancient world who denounced usury include Plato, Moses, Muhammad, Aristotle and Buddha. When a line-up like that is in agreement, it is perhaps worth thinking twice about our acceptance of it.

Rave emerged spontaneously, neither planned or designed. It was a genuine grass roots phenomenon, egalitarian and welcoming. Thousands danced in fields all through the night, out under the moon, in order to achieve a trance-like, ecstatic state. It was a form of communion and it was pagan as fuck. Needless to say, it couldn't last. The press and the government, appalled by such non-violent having-of-a-good-time, moved quickly to crush it. Ultimately, though, they weren't quick enough. Rave grew too big too quickly, and it attracted the attention of those who felt they could make money from such events. Once this happened and the superstar DJs and the superclubs arrived, the focus shifted from the raw crowd back to the event itself. Rave's spell was broken.

from that moment in June 1973 I decided to accept the total contradiction that everything from the Big Bang to the end of time is preordained in every sense and that we are totally free to do whatever the fuck we want.

and they had the suitcase with them. "Come on, we're going to do it now", said Drummond. Reid asked why. "There's just a time when you instinctively know it is right," Cauty replied. The plan had been to get up early on the morning of

Slackers were not well dressed, because there was no reason to dress smartly. Their uniform was old jeans, Converse trainers and warm, practical lumberjack shirts. They were not career-minded, for there was no reason to pursue the corporate dream. They were seen largely as apathetic, but it was an apathy born of a logical assessment of the options rather than innate laziness.

The art world assumed an air of polite remove from the activities of the K Foundation from then on in, and it soon became apparent that no suitable gallery was going to host their inaugural exhibition. This was called Money: A Major Body of Cash, and largely consisted of what money the pair still had from The KLF years nailed to things. The key piece was called Nailed To The Wall, and consisted of a million pounds in fifty pound notes nailed to a board. The reserve price for this was going to be half a million pounds. The purchaser could therefore double their money by simply taking it apart. If they hung it on the wall, however, the value of the notes would decrease over time, but the value of the art might well increase. The exhibition, then, raised many thorny issues about the relationship between art and money. Or at least it would have done, if a gallery had been found to put it on.

Should a budding notion be subjected to his objective and critical mind, however, "all you learn are all its faults and weaknesses and the reasons why you should not be doing it." The unformed idea will be riddled with contradictions, and a critical eye will use these contradictions as a reason to kill the idea off. The liberation loophole, then, is giving yourself permission to accept those contradictions and to allow the idea to grow under its own logic, protected from the withering scorn of rationality.

Multiple-model agnosticism, then, is a way out of postmodernism which doesn't lead into the belief that, out of all the billions of people in the world, you are the only one who really gets it and everyone else are idiots. The problem is, however, that our models are too damned convincing, and it is a struggle to remember that they are models and not reality. Hence much of the work of the Discordians - bar the stuff included purely for shits and giggles - is aimed at shocking people into realising the extent to which they confuse their models with the actuality. The 23 Enigma is a good case in point. Wilson was basically training his readers to notice 23s everywhere and, as any Discordian will tell you, he did this very well indeed. The point is, however, that there is nothing special about the number in itself. It is the fact that it has been singled out and had meaning applied to it, and that Discordians have been trained to recognise it, which is significant. Had it been the number 47, or 18, or 65, the effect would have been the same. Indeed, in his later years Wilson admitted that it would have been much better if he had trained his readers to spot quarters on the ground instead of number 23s. Of course, Multiple-model agnosticism also allows you to consider the model which states that the above paragraph is mistaken, and that the number 23 is significant. Many Discordians have explored this model at length. As I understand it, that model doesn't lead to anywhere pleasant, but the curious are encouraged to explore it for themselves to see if that's true. The reason that the 23 Enigma is useful is because it demonstrates the amount of information that our models filter out. In actuality, the coincidental and synchronistic appearances of the number 23 are matched by coincidental and synchronistic appearances of every other number, even though our models fail to react to these. They are just models, after all, and models are significantly less detailed than what they represent. Reality itself is ablaze with infinite connections: every particle in the cosmos affects every other particle. It's Too Much, it really is, and seeing reality in all its innate finery would be so overpowering that you'd be in no state to nip down the shops when you need a pint of milk.

There is no requirement for those affected by an idea to be aware of any of this, of course. When the writer and media critic Philip Sandifer writes that "David Whitaker, at once the most important figure in Doctor Who's development and the least understood, created a show that is genuinely magical and this influence cannot be erased from within the show," he does not mean that any of the hundreds of actors and writers who went on to work on the programme saw it in those terms. Or as Sandifer so clearly puts it, "I don't actually believe that the writers of Doctor Who were consciously designing a sentient metafiction to continually disrupt the social order through a systematic process of détournement. Except maybe David Whitaker." From Drummond and Cauty's perspective, the story of Doctor Who is irrelevant. All that was happening was that they were exploring their mental landscape, and they were fulfilling their duty as artists by doing so more deeply than normal people. This is a landscape with many unseen, unknown areas where who-knows-what might be found. The KLF explored further than most and, if we were to accept Moore's model, it would perhaps not be surprising that a fiction as complex as Doctor Who could encounter them in Ideaspace and, being at its lowest point and in dire need of help, use them for its own ends. For Moore, and other artists such as David Lynch who use similar models, the role of the artist is like that of a fisherman. It is their job to fish in the collective unconscious and use all their skill to best present their catch to an audience. Drummond and Cauty, on the other hand, appear to have been caught by the fish. Lacking any clear sense of what they were doing, they dived in as deeply as Moore and Lynch. They did not have a specific purpose for doing so. They just needed to make something happen - anything really, such is the path of chaos. "It was supposed to be a proper dance record, but we couldn't fit the four-four beat to it, so we ended up with the glitter beat, which was never really our intention but we had to go with it," Cauty has said. "It was like an out of control lorry, you know, you're just trying to steer it, and that track took itself over really, and did what it wanted to do. We were just watching." This lack of intention is significant, from a magical point of view. One of the most important aspects of magical practice is the will. Aleister Crowley defined magic as being changes in the world brought about by the exercise of the will, hence his maxim 'Do what thou Will shall be the whole of the Law.' The will or intention of a magical act is important because the magician opens himself up to all sorts of strange powers and influences and he must avoid being controlled by them. Drummond and Cauty were not exerting any control on the process, and so they made themselves vulnerable to the who-knows-whats that live out of sight in the depths of Ideaspace. For this reason, you could understand why Moore would think that Bill Drummond was “totally mad." All this only applies if you're prepared to accept the notion of magic, of course.

Nevertheless, all this is worth noting because there is another fiction that is important in Drummond and Cauty's story. This one is more significant, because this is the fiction that they became, taking on its title and performing their actions in its name. It is also the source of our whirlwind of synchronicities. We are talking, of course, about The Justified Ancients of Mummu. The question then becomes did Cauty and Drummond choose The JAMs, or did The JAMs choose Cauty and Drummond? A possible clue will come later, when we look at what the founding purpose of The Justified Ancients of Mummu actually was.

We can tell this story without the help of the Devil, if it makes you more comfortable. Consider the story of the Greek Titan Prometheus. Prometheus stole fire from the Gods and gave it to mankind. As a punishment, Zeus chained him to a rock and he had his liver eaten out by a giant eagle. Then the liver grew back, and the eagle feasted again. In this way Prometheus was tortured for eternity. All of which illustrates a profound truth, which is that Gods are bastards.

The title came when Drummond turned to Cauty at a rave, intending to ask when the MDMA they had taken would kick in, but found himself phrasing the question in the words ‘What time is love?’ At which point, they both understood that it had started to work.

If it makes it any easier, this author can assure you that there will be no other appearances in this story by giant invisible rabbit spirits.

You cannot understand a man’s actions unless you understand his beliefs.

the KLF were a bunch of conceptual pop tricksters who won the hearts of their home country with stunts like recording country singer Tammy Wynette in a rap context. Performing at the prestigious BRIT awards, Extreme Noise Terror blasted the KLF hit “3 a.m. Eternal” into oblivion while the KLF sprayed the audience with machine guns preloaded with blanks. When the KLF were awarded “Best British Group” honors later that night,

Richard Hawley’s ‘Tonight The Streets Are Ours’. He dusted and polished to The KLF; hoovered to Robyn and Bat For Lashes.