These texts should not be taken lightly – or rather, these texts weigh heavily on the paranoia of the French state. In France, the alleged author(s) of The Coming Insurrection were violently arrested under “preemptive” measures that identified them as “pre-terrorists”. What is striking – and frightening – is that the Tarnac 9 by all accounts were not a revolutionary cell, but a small alternative commune living off the grid. Apparently such existence, outside of a few norms, is enough to invite the living nightmare of State hostility. Whether Julien Coupat wrote The Coming Insurrection is irrelevant. The text resonates with the zeitgeist that exploded in the banlieu riots of 2005. It is rightly anonymous as its claims are that of a world. Tiqqun’s Introduction to Civil War suggests the experience of the Tarnac 9:
Spectacle’s genius is to have acquired a monopoly over qualifications, over the act of naming. With this in hand, it can then smuggle in its metaphysics and pass of the products of its fraudulent interpretations as facts. Some act of social war gets called a “terrorist act,” while a major intervention by NATO, initiated through the most arbitrary process, is deemed a “peacekeeping operation.” Mass poisonings are described as epidemics, while the “High Security Wing” is the technical term used in our democracies’ prisons for the legal practice of torture. Tiqqun is, to the contrary, the action that restores to each fact its how, of holding this how to be the only real there is. (Civil War §82: 189).
But in reality, it is the inherent failure of representation, both in the visual and the political sense, that continually leads activist-artists to abandon their works and their familiar skills, and to dissolve once again into the intersubjective processes of society’s self-transformation.
This moment of dissolution is where one could locate exodus, not as a concept, but as a power or a myth of resistance. On the one hand, exodus is a pragmatic response to the society of control, in which any widespread political opposition becomes an object of exacting analysis for those who can afford to invest major resources in the identification, segmentation and manipulation of what we naively call the public. In the face of these strategies, exodus is a power of willful metamorphosis: the capacity for a movement to appear, to intervene and to disappear again, before changing names and recommencing the same struggle in a different way. (Brian Holmes, Unleashing the Collective Phantoms: Essays in Reverse Imagineering @ 185)
Exodus is a movement — defection from the State, exit from the state of things, toward the formation of a “new republic” (as Paolo Virno puts it). While Virno and other Italian-based theorists of the Autonomia/Operaismo movement have traced exodus as a response to the factory regime of Fordist labour that saw its dismantling in the ’70s and ’80s, Brian Holmes has placed exodus within the artistic lineage of interventions and occupations, in which the fluidity of art, and of art as an occupation or role offers an exit strategy from institutionalized engagement. Holmes’ historical references are those of the alterglobalization movement, notably the public sonic occupations of Reclaim the Streets and the deployment of carnivale tactics in general, but also in specific art projects such as Nikeground. Here, art (and the artist) move through an interzone of activism and art, a zone in which intervention and representation are no longer distinct sides or sites of the work.
in the darkness the shapes of the light (thx to JBurke for this photo)
Excerpt from an unpublished missive — the mythus of the underground.
The outsider, insubordinate, and risk-laden character of dance, legitimated in this sense through its criminalization, provides participants with an outlaw or rebel identity forged in an ambiguous relationship with the law. — Graham St John, Technomad@20
The underground resonates with flights from the drudgery of everyday life into realms of secrecy and substance, where liberated encampments of rebel fugitives revel in the immediatism of autonomous existence…
576 members of a political mini-mob, save for one: the Tennis Court Oath of 1789
Over on Scobleizer, Robert Scoble is throwing down some analysis on malleable social graphs and mini-mobs after witnessing the social media infiltration of SXSW. He is primarily interested in check-in locative services such as Foursquare and Gowalla that recommend to the mobile user useful services and businesses based upon aggregated social metrics. To the Web 2.0 economics crowd, Scoble suggests that Facebook has the potential to sweep the locative market based upon its infodemographic storehouse. Facebook’s accumulated social metrics of associations, networks, fan clubs, likes and dislikes can form locative-informed “malleable social graphs.” For example, if I want to go see Off Broadway theater in NYC, I check-in to FB’s locative service and it puts me in touch with friends (or friends-of-friends) with similar interests in the area (along with businesses, locations, services, and so on). Point being, through localized search criteria I see what I want to see based upon the service already knowing the aggregates of my interests and indexing that to my location (as revealed through social metrics I have given such services and from which such social metrics algorithms have deduced — i.e. Amazon’s “you might also like…” suggestions).
Voilà.! Some 5 years in the making, Circulation & the City.
With appropriate fanfare & deep bows, Will Straw & Alexandra Boutro’s edited volume entitled Circulation and the City: Essays on Urban Culture (McGill Queen’s UP, 2010) now graces the shelves. This book has been quite a few years in the works. The earliest drafts I have of work for the volume date back to 2005, and by the time we went to press, the final chapter I submitted on Henri Lefebre, rhythm, and revolution in the city had been transformed entirely from the words originally writ on rave culture and rhythm (funny thing: the new article I am finishing for Dancecult picks up on these earlier themes – sometimes work must encounter different sets of theoretical concepts, and years of reflection, for the excavation of the intellect to yield its bounty). The book forms the third in a trilogy of publications from the Culture of Cities Project, a multi-university research endeavour that sought to unearth “the mix of universal and local influences in the everyday life of cities,” with research concentrated in Toronto, Berlin, Dublin and Montréal, and with researchers across Canada and the Continent. So, with the intent of lurking y’all into picking this up (or perhaps unwittingly scaring you off), I offer the introduction to my chapter “Cities of Rhythm & Revolution.”
Yet another bloodsucker dressing-up to play the Glamour game.
I think the motto of recent living for me could be DOWN WITH THE TROLLS & GREY VAMPIRES, BUT ABOVE ALL, DOWN WITH THE PSYCHODRAMA DEMONS. What’s these here Grey Vampires and Trolls? K-punk outlines the concepts:
Grey Vampires are creatures who disguise their moth-greyness in iridescent brightness, all the colours of attractive sociability. Like moths, they are drawn by the light of energetic commitment, but unable to themselves commit. Unlike the Toll, the Grey Vampire’s mode is not aggressive, at least not actively so; the Grey Vampire is a moth-like only on the inside. On the outside, they are bright, humorous, positive – everyone likes them. But they are possessed by a a deep, implacable sadness. They feed on the energy of those who are devoted, but they cannot devote themselves to anything. (K-Punk)
Psychodrama Demons are somewhere in-between a Grey Vampire and a Troll. A Grey Vampire appears somewhat romantic at times, caught in a melancholia, only able to live vicariously through others, even as their mode-of-being sucks away at the marrow of life, draining those around them. A Troll is more outright aggressive. As K-Punk writes, a Troll “above all wants to waste time, its libido involves a banal sadism, the dull malice of snatching people’s toys away from them” (K-Punk).
As part of my recent research into the mechanics of dismissal – the ways in which dismissals operate as the modus operandi of precarious labour – I asked around the Facebook network for stories of gettin’ fired. And I was surprised by the response; a good number of friends & colleagues had at one time been ‘dismissed’ from their jobs. Their stories are self-explanatory. It would appear that in most cases, the managerial class deploys dismissal as a means to cover-up structural incompetence. In quite a few cases, employees were misled into short-term hirings; dismissal is an easy way to ignore labour law that protects employee rights.
Google gives me this image when searching for 'wage slavery' //
A few days ago I was throwing down some conversation in a noisy bar with a colleague (and friend) whom I hadn’t seen in awhile. Besides being able to only interpret every fourth word or so due to a completely distracting mashup mix blaring on the system whilst downing a good number of beers, the question came up as to what I was reading, and I showed TH a copy of Precarious Rhapsody by Franco “Bifo” Berardi — a work of autonomist theory from the Italian camp. The reason I was reading this, I explained, was because it engaged me, enraptured me, and for good reason — every line appeared as a reflection of my own fractured experience, not only in the past year working the shop floor, but in my life of working within realms aptly described under the banner of cognitive labour. I had gone from being a wordsmith and arts worker to a member of the shop floor precariat, in short from one precarious realm to another, from a realm where 110% of the brain is owned (insofar as one’s future cognitive production is pre-owned) to a position in which the brain is not only disowned, but actively discouraged in its use, with the menial task of one’s labour, however useless or counterproductive, the only toil to be done. While working the shop floor, I also observed the incredible ineptitude of business management, as it sweated the small stuff, missed the bigger picture, accepted mediocrity from itself while demanding 24/7 availability from the minimum wagers. In short, working the floor demonstrated quite precisely the management-induced toxic atmosphere of insecurity, resulting in seasonal turnover, inexperienced decision-making, and overall bad biz.
truth in irony – whether beat down or beaten entirely / g20 protests, london
Since there are no remaining visible alternatives to universal pan-capitalism there seems to be no need for payoffs for the disenchanted, no necessity to bribe dissenting segments of the population and no incentives to grant extensions of freedoms. Instead of peddling hope and the vision of a mutually shared commonwealth, authority is maintained by synthetic fear and the need to secure property against some other. (“Synthetic Fear,” Konrad Becker, in Strategic Reality Dictionary: 144).
What is an anthronomics? Anthronomics would come to consist of embedded analysis. But literally: sleep with the enemy. Living the precarious wage as anthropology of the precariat. And plumbing the depths of the employer (or lack thereof). As a -nomics, a study of laws, it is yet a side-step from an economics which sees laws as relations of production, trade, and money, or in general of eco– principalities that become increasingly removed from affective conditions of collective bodies. An anthronomics puts the body back into the equation of economics, as well as the embedded status of its investigator, and like cultural ethnography, seeks to think through by thinking among.
So that’s the way we live our lives. No matter how deep and fatal the loss, no matter how important the thing that’s stolen from us – that’s snatched right out of our hands – even if we are left completely changed, with only the outer layer of skin from before, we continue to play out our lives this way, in silence. We draw ever nearer to the end of our allotted span of time, bidding it farewell as it trails off behind. Repeating, often adroitly, the endless deeds of the everyday. Leaving behind a feeling of immeasurable emptiness. (Murukami, Sputnik Sweeheart 207)
…and in the Norwegian night sky, a spiral, lighting the heavens for over two minutes, what is this strange sight…
"the mysterious lysfenomen"
What gains greater notice — this spiral or the infelicities of Tiger Woods? The media attention is resolutely focused on the AfroAmerican groin as usual; the strangeness of the night sky passes us unnoticed. Perhaps because it gestures not toward what we already know – that Tiger, like 99% of us, thinks the confines of marriage a sham, and that human life be too short to not divest it among many – but toward what we don’t know. This light, the sky, these are unassimilable objects. Though reported and noticed as they do not escape all perception (that which does passes us by without a trace — perhaps), such events constitute a counter-event. A slip within symbolic systems. Such slips make possible all kinds of escapes and exit strategies.
RT 