MIXEDMEDIA

Art by ryz (aryz.es) and grito (gr170.com) from MixedMedia sent in by Pau from Spain. Thanks for sending this in!

Hello, i thought that this could be interesting for the page! The artists are aryz (aryz.es) and grito (gr170.com) both are MixedMedia. The walls are standing our home, the free fucktory. Squat from xpain.
Nice work with the page!!! Thanks for making it.
At your attention,
pau reyes

HAKIM BEY: REPOPULATING THE TEMPORARY AUTONOMOUS ZONE

Hakim Bey: Repopulating the Temporary Autonomous Zone
Author: Simon Sellars

From: Journal for the Study of Radicalism
Volume 4, Number 2, Fall 2010
pp. 83-108 | 10.1353/jsr.2010.0007

In lieu of an abstract, here is a brief excerpt of the content:

Project MUSE - Journal for the Study of Radicalism - Hakim Bey: Repopulating the Temporary Autonomous Zone Browse > History > Journal for the Study of Radicalism > Volume 4, Number 2, Fall 2010 Download PDF Hakim Bey:Repopulating the Temporary Autonomous Zone Simon SellarsRMIT University, Melbourne, Australia The poet and essayist Peter Lamborn Wilson is widely known for his anarchist manifesto "The Temporary Autonomous Zone" (TAZ), developed across a series of essays written from 1981 to 1988 and published in collected form in 1991 as T.A.Z.: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism. The essays were attributed to "Hakim Bey," Wilson's infamous pseudonym, and the writing itself was a potent brew of mysticism, historical narratives, autonomous Marxist politics, and French critical theory. The overall aim was to highlight indeterminate zones within late capitalism, everyday occurrences that refuse, whether by accident or design, to be incorporated into dominant narratives. This enabled The TAZ to become an extraordinarily influential (and divisive) text in anarchist circles, and in various pop cultural movements. But has that moment passed? Can the concept hold any meaning for observers in the early twenty-first century? This essay will argue that, although the cultural capital of the TAZ has undoubtedly become degraded through overuse, the circumstances of its cultural reception are indeed worth returning to and remembering. Repopulating the TAZ can reward us now (as it did at inception) with valuable insight into the perceived role of critically engaged literature and philosophy as an activator of political potential, illumining a debate regarding the supposed (in)compatibility of leftist theory and politics that continues today. The TAZ and cyberculture: "Life in the trenches" The TAZ may have remained a fringe work if it wasn't for cyberculture, where it proved to be among the more resilient memes in alternative art and culture from the mid-1980s to the mid-1990s. The original electronic networks that became the prototype for today's commercial Internet were developed in the 1980s, a development of the first interconnected computer channels produced in the 1960s for U.S. military purposes. As François Cusset summarizes: "These networks embodied, for some, a space for resistance, a social dead zone, a territory that was still imperceptible, in whose shelter they could build a new community and undermine the ruling powers . . . the first groups of hackers emerged [and formed,] in Bruce Sterling's words, a veritable 'digital underground.'" In cyberculture's incandescent popcult moment, the gritty noir futures of cyberpunk science fiction, built upon the template forged by the ascending reputations of novelists William Gibson and Sterling, and extrapolated from present-day technological developments, were cited as metaphoric portrayals of a real world in thrall to the nascent Internet and to the implications for mediated life it held. Cyberphile magazines like Mondo 2000 (and later, Wired and 21C) spliced cyberpunk attitude with digital culture's bleeding edge, carrying advertisements for dial-up modems, cd-roms, and pixel art software in between articles and interviews exploring every facet of cyberculture: from body modification to the emergent politics of the net, from new strains of cyberpunk fiction and rave music to the "bumper sticker libertarianism" leaking from cyberculture's startling new cachet. Fermented within this heady "frontier" atmosphere, manifestos were abundant. John Perry Barlow of the Electronic Frontier Foundation drew up "A Declaration for the Independence of Cyberspace," demanding that the net—"the new home of Mind"—be forever self-governing, forever free from corporate and governmental restriction. Douglas Rushkoff produced a book-length vérité document of "life in the trenches of cyberspace" (or "Cyberia"), where "cyberians" "believe the age upon...

READ IT HERE

DJ VIDDA - HYPNOTIK X.PRESSION MIXTAPE

Mixtape by DJ Vidda from Paris (France)

DOWNLOAD

(or listen to it on YouTube)

 Connect to DJ Vidda..

fakebook profile

$LAVE!

Are You Slave to the Television?

JOHNNY SIDEWAYS - LIVE @ TINNITUS 5TH BIRTHDAY

Uptempo hardtek liveset sent in by Johnny Sideways from Kaotek himself via our page to get in touch with us. Everything is welcome.. Always happy to support a local artist by spreading his sound. Don't be shy and sent in your stuff to be shared!

Feel free to check out his soundcloud: http://soundcloud.com/johnnysideways

&

GET CONNECTED!

FREEDOM RIVER

Concentrating on an area of growing concern in our society--the indifference that makes people blind to the injustices around them--this animated parable traces how the erosion of freedom, like the pollution of natural resources, can occur so gradually that both evade the attention of a busy and preoccupied nation. (Narrated by Orson Welles)

Freedom River @ IMDB

1984 IS HERE

So true..

Orwell's Prophecy Has Become Reality

1984

Oh the irony..

..this picture symbolizes the statement above. 

QIX METEK - INSANITY FIGHT

Metek – Insanity Fight
Label: Metek – C1
Format: CDr, Album, Live
Country: France
Released: 2003

@ discogs

ROA @ SAN FRANCISCO

Roa @ White Walls Gallery- San Francisco

April 9- May 7, 2011

Street artist ROA got his start by painting intriguing murals of animals in hidden places – underneath bridges and on walls that strayed from the beaten path. A darling of the underground street art scene, photos of his work regularly appear on Vandalog, Brooklyn Street Art, Wooster Collective, Unurth, and a fury of London newspapers and blogs running to his defense when a street piece he did in Hackney faced removal late last year. ROA is earnestly repopulating the cityscape with animals, as a way to have them re-enter the contemporary landscape that was once theirs. With a style all his own.

More @ White Walls Gallary

AMAZING ANIMATION (HUNTER S. THOMPSON THEMED)

I would never post an advertisement.. but this one is an absolutely amazing animation inspired by Hunter S. Thompson. Don't worry.. we still support an ad free world :D ADBUSTING!

It is not very often that we have the opportunity to create a graphic equivalent of a drug fueled rant bringing all of our collective skills to bear. And it is almost unfathomable that we could actually do something like this and benefit a good cause.


The Buck team dug deep, channeling our inner gonzo, to direct and produce this homage promoting Good Books, the online bookseller that passes all its profits through to Oxfam. A big thanks to String Theory in NZ for bringing us this script, Antfood for their amazing audio stylings, to Thor for giving his voice and to all the artists who made this something we are proud of.

BANDITOS - LIVE @ TEKNIVAL MAY 2001

Still one of my most favorite sets ever.

ABANDONED HOSPITAL IRQAH

An amazing abandoned hospital that was evacuated not long after it was completed. Even after 34 years the electricity still works.. what a waste. The reason it was abandoned is unknown, some say it was abandoned because it was build on haunted grounds. But I can't confirm that.. at all.

More pictures @ Paranormal Places

Or visit it yourself in Irqah, Riyadh, Saudi Arabia

THE CYCLOWN CIRUS

We cycle from town to town, looking for a place to stay, co-operating with locals and the community and performing in the street or at a pre-arranged locations (usually some kind of Social centre) and giving workshops after the event if we have time. Getting up to 15 people on working bikes, fed, amused, happy, well rested and ready to perform to their best for popcorn is a vast achievement in itself! The show has to be seen to be believed - it involves live music, live accidents, clowning, tightrope, monocycling, bike jousting, diabolo, juggling, acrobatics, magic, fire spitting and dancing, acrobalance, trapeze and incredible jumping mad Mexican bean chaos! It is a great experience meeting people from a vastly varied ways of life, learning about other attitudes, languages, history, the world today, nature and how to keep a team of clueless foreigners, entertaining, laughing and creating with a bunch of junk we carry with us.

- www.cyclown.org

BOMB : A MANIFESTO OF ART TERRORISM

BOMB is part personal reflection, part social critique. A pointed and opinionated observation about graffiti culture, media terrorism, art "education", corporate control, and the ills of the current art world.

by Raymond Salvatore Harmon

MANIFESTO (excerpt from BOMB)

• Art is an evolutionary act. The shape of art and its role in society is constantly changing. At no point is art static. There are no rules.

• The power of art lies not in its interpretation but in the form of its experience. To perceive art, to become aware of art, is to know art.

• Art terrorism is an act of cultural insurgency designed to bring attention to the ‘third world’ status of art in contemporary society.

• The objectification of art is dead. Art is experience, not ownership.

• Art is a language by which mankind expresses itself, a universal language that is not dictated by critics, journalists or academics.

• The art terrorist seeks the secession of art from the financial/academic infrastructure of the supposed ‘art world.’

• Art terrorism is intrinsically related to contemporary media and its manipulation.

• Supposed art educational institutions are merely focused on financial gain and should be condemned and destroyed.

GRAB IT HERE

I AM FREEEEEE!!

be yourself.. not the person society expects you to be.

ZONING OUT (TEMPORARILY)

Zoning Out, Temporarily with Hakim Bey and Genesis P-Orridgeby John Perry Barlow, Mondo 2000 No. 9 1993





It was Queen Mu who made this happen - her conspiratorial whisper suggesting that I get myself together with Hakim Bey, Genesis P-Orridge, and a MONDO tape recorder. I wasn't too sure what she had in mind.

I mean, aside from the fact that all three of us are white, male acid-altered, old enough to know better, and crazy enough to do it anyway... Our resumes just didn't hook up and I wondered if we would.

Mr. Orridge, for example, is one singular fellow. He's got hardware dangling all over a body which sports more ritual scars and tattoos than Melville's Queequeg (with whom he shares other characteristics, most notably a nightmarish appearance cloaking a sweet and reasonable mind). He also happens to be the father of modern primitivism, the post-industrial tribes, the Rave Movement, the avant-garde band Psychic TV, and a couple of beautiful young daughters.

Orridge has been willfully causing such grave offense to British proprietary for the last twenty years that they've finally seen no alternative but to seize all his works and archives and pass laws which, though tailored to outlaw him, also make it a crime to give any other British subject so much as a hickey. (Or cause any physical harm to oneself or another consenting adult in the pursuit of dark pleasures.)

Finally, agents of the Crown have sent him packing into exile in California - a place so much more congenial to abominations that Mr. Orridge is having to scratch around for something to sink his sharpened teeth into.

Hakim Bey is another whose deviances have forced him to hide behind another name. Spending much of his life disguised as a mild-mannered comparative religion scholar, he emerges in print as an anarcho-gay drug fiend and Sufi pirate, compared to whom Salmon Rushdie is as orthodox as an ayatollah. Hakim's the guy who put the Temporary Autonomous Zone on the map.

However similar they might seem in their jointly unspeakable practices, their unabashedly unnatural acts, Bey and Orridge are quite different. Bey is reclusive and ascetic, a closeted natural philosopher, whereas Orridge is a performer, indeed something of a rock star.

And there's my own staid self, known to MONDO readers as a retired cattle rancher, rural gentlemen of such probity that, a couple years ago, I came within one vote of a Republican state senate seat in Wyoming, the most conservative part of the non-Islamic world. I'm a Freemason, a jack-Mormon, and a problem if I've been drinking. In short, just about everything these two are not.

And yet...

When, by virtue of a couple minor miracles, I was able to horse all three of us into my borrowed apartment in San Francisco's Potero Hill, a curiously complete zone of shared understanding arose between us. It felt as if we'd been opining around the same cracker barrel for years. During the hour and a half this field remained intact, we covered a vast stretch of philosophical country which the hacked and decimated thing below can only hint at.

-John Barlow

JOHN PERRY BARLOW: I want to talk with you guys about the Shadow. There is a way we have of concealing, projecting or wearing - in a peculiar fashion - that which we don't want to admit about ourselves. The thing that's interesting to me about you, Genesis, is that you look like an evil sonuvubitch from a distance. You look like a goddamn cannibal. And yet you are an extremely pleasant, polite, decent fellow.

GENESIS P-ORRIDGE: I think I look really West Coast.

HKIM BEY: I'm reading Hermes by Michel Sarres. And he brought up an interesting idea. He was talking precisely about this duality in Western culture... that there's always the on/off, dark/light, good/bad, up/down. He says that the third person is lost in Western discourse. Where any two are, there's a the third who has to be ignored. Apparently, he's going to suggest ways in which the third person can be re-integrated. Perhaps that's what we need, instead of paradox. He even calls it "the parasite" - the guest who gives words for food instead of food for food. The interlocutor... the third interlocutor.

GEN: Have you read The Third Mind by Brion Gysin? When he and William Burroughs came together and applied the cut-up method to their text, they produced a third mind.

HAKIM: ...as a parasite on that interaction! That's what Sarres is talking about.

GEN: I always found The Third Mind one of the most interesting subversive manuals. I never recommend the novels and stories of Burroughs or Gysin, I just say read The Third Mind and try some of those exercises. A lot of implications concerning inherited perception are revealed.

Scotland Yard has now got lots of videotapes that I made of Brion in Paris talking about psychic hygiene, the alchemical variations in the temperatures of boiling water, through the Master Musicians of Jajouka, all the events in Morocco that led him to many of his most intimate theories, even explaining how to make a good cup of tea by detailed observation of the bubbles, each of which he had named to denote each step. There's a lot of unique stuff there.

JOHN: I think they suppress that stuff mainly because they're afraid its reality could disturb what they wish to project about it. The image of Burroughs or you is so much easier to abuse. That's the scary thing about the information society - mythology completely detached from any reality but the one it's in the business of manufacturing. Pure simulation.

HAKIM: You know, the big difference between shamanic cultures and religious cultures is that dualistic shadow/anti-shadow thing is missing from shamanic culture. It was pre-Manichean, and now we're looking for something which is post-Manichean. Urban shamanism.

JOHN: I saw a very old Tantric Buddhist shrine near Kyoto. And the central icon of this place was a large sculpture of two dragons- one on the top with his tail coming up, and the other on the top, with his tail going down, entwining with the first dragon's tail around the middle. It reminded me of the Caduceus and its snakes, except that implied no value judgment between the upper and lower chakras. The point was the even interaction of the tails in the middle. So there was a duality, but it wasn't a weighted duality. It was more like a Yin/Yang.

HAKIM: No. The Yin/Yang theory is not Gnostic dualism. It's not the same thing. Eliade called it "dyadic." It's not the same as good and evil. It becomes so later in neo-Confucian thinking.

JOHN: Right, Taoism has no truck with good and evil at all.

HAKIM: Taoism seems to be the one religion that doesn't have the Gnostic trace.

JOHN: In our culture, the problem arose with the Romans.

HAKIM: I think it goes further back. It's Babylon. It's just like the Rastas say, "It happened in Babylon." It's Marduk and Tiamat. It's Mr. Hard-on God up against Sloppy Mom. In China, chaos is a benevolent property. Huntun is the gourd or the egg out of which everything comes. He's a wonton. Huntun and wonton are the same words. He's like this little dumpling and everything good comes out of him. In Babylon, chaos is the disgusting monster vagina that has to be ripped up by Marduk into myriad blobs of shit and slime. And we are those globs of slime. That's how the human race came into being. What is the purpose of the human race? To serve Marduk, to serve the masculine principle, to store up grain in the granary for the priests, to pay for the priests for their sacrifice so they get the free hamburgers. That's the whole Western myth. It's St. George and the Dragon. St. George pins the dragon down.

In China, the dragon is the free expression of creativity. He's the mixture of Yin and Yang, the principle of power. But here's evil, plain and simple. This is why chaos has kicked off, for me, for Ralph Abraham, and others, an interest in making a critique of this Western mythology, and saying, "Let's put Humpty Dumpty back together."

JOHN: There's been an interesting co-evolution lately of a lot of apparently disconnected things, like chaos mathematics and neo-tribalism, a sudden interest in Taoism and what I perceive to be a deep feminization of Western culture.

GEN: Some philosophers feel that there's a risk in absolute unconditional surrender of that male-God power, even though it's obviously failed miserably. Should we seek out every possible male trait and subordinate it to a female principle?

HAKIM: I didn't like the rule of Dad, but I don't think I'm going to like the rule of Mom either.

GEN: I'm involved with raves and live events because they're celebrations of an autonomous tribal unit. I think that was one of the real reasons for the attack on Psychic TV. It was the fact that we were doing unannounced, unadvertised, private parties where three thousand young people would aways turn up and bring one more friend next time. We were building this entire, separate, parallel vision - what Alaura calls "The Lost Tribe." We would discuss taboos, body modifications, self-empowerment, women's rights, animal rights, and all these different things as a spin-off. They weren't any of them essential in themselves. But what people always kept saying, over and over again, was that they felt they could relax and be themselves. The most obvious, ordinary condition that so very rarely happens.

JOHN: That's also why they go to Grateful Dead concerts. It's a sense of belonging which makes it possible for you to be yourself. When you're part of somethign on an organic level, then the self has some meaning. If you're only...

HAKIM: What about the problem of mediation? It sounds to me like you're less interested in media and more interested in the immediate, the un-mediated. A street concert is participator. It's got to be something you experience.

JOHN: Until McDonald's finds out about it and turns it into an ad.

GEN: Basically, the way you set your events up is the key to whether or not they're absorbed. And so far we haven't been absorbed. That's why we're being spat out. If your tension is not to sell yourself and your imagination, then there's a real problem with people in authority, because their normal debilitiser is the money carrot. They have a really patronizing view of the creative mind, that it really want to whore itself to them.

JOHN: Most commerce in this country is based on the unfulfilled psychic needs. The media have one message: "Eat this, drink that, wear this, put this on your body, do something about the horrible loathsome disconnected thing that you are."

HAKIM: The trick is that none of it works. It's what Walter Benjamin calls the "Utopian trace," which is built into those commodities that make you dream of the perfection that's being sold to you. But it's only a trace, like a trace element. It's like homeopathic; it's hardly even there. So, of course, it doesn't work.

JOHN: Recently I was on an NBC show about LSD. And they also had a self-described "recovering LSD addict." It was a real set-up. But I noticed that almost every ad was either for a drug or for something that would make everything somehow different. So the LSD which actually can make you different in a fundamental and satisfying way, represented the Demonic. LSD was the Shadow.

HAKIM: I read a quote from Malcom McLaren, where he said, "Why are drugs popular? I'll tell you. Because only drugs can make you feel like people in TV ads look like they're feeling." Drugs are the only commodity that's actually more than just a trace. It is - in some ways - the thing.

JOHN: It's close. And that makes it an enormous threat to the culture, which is base don unfulfillable need.

HAKIM: The best way to impose stability is through violence. Within every rational system is terror and death, unless you admit the third mind... the parasite. As long as linear reason calls the shots, it's always death and terror.

GEN: There's a great tape of Gyson, Gregory Corso, and Burroughs in Paris during the 50's. A letter arrives from some businessman in London, and you can actually hear Burroughs as he snips it with his scissors saying, "Now let's see what it really says." And then he reads it aloud and it basically goes, "... money... money ... money." I took that very much to heart. When in doubt, be extreme and see what it really says. There's a need for people to smash the shop windows because that debris can be reassembled into amazing things.

JOHN: There's a particular need when you've got a culture which has placed such an inordinate value on stability. We'll have to go some distance to re-assert the dynamic.

HAKIM: That's what's so useful about chaos and complex dynamical system analysis, which is now cutting edge. It's going to take a while. The popular discourse is still Cartesian.

So what's the social anti-spasmodic for the spasms we've been talking about? Again, what about... tactics?

JOHN: The best anti-spasmodic is a joke. Take a leaf from Catastrophe Theory, which is really the science of the punch line. IT's the thing that suddenly takes you out of the locks system and helps you go meta.

There's a great Neal Cassady story about this. The PRanksters all went into a bar in Oakland after a rally in Berkeley, and everybody was high on acid. It turned out to be the wrong kind of bar. Basically, there was a group of guys about to pretty much disembowel someone. But it was a perfectly symmetrical situation with nowhere for things to go but bad. Cassady strutted over to the assailant group, and said, "Hey, anybody want some gum?" And this was the catastrophe that caused the whole thing to dematerialize. For these locked symmetries, the most powerful cure is the prank.

HAKIM: That's an interesting way of looking at it. Poetic terrorism. Pirate humor.

GEN: That's why Dada and surrealism and happenings and acid and cut-ups are actually tools of survival.

HAKIM: They're anti-spasmodics.

GEN: It's really empowering when you break up or collage stuff together, bring in the unexpected or the inappropriate. Those who are trying to impose the status quo and a linear view can't read that language.

JOHN: It's too ambiguous for neurotics.

GEN: They're unable to deal with the anarchic, confused, colliding, or absolutely illogical combinations. Tim Leary believes that's what is really behind the attacks on us. What SCotland Yard is actually attacking is my archive. For over 25 years I've collected things that don't fit together. I've got Dada stuff, Fluxus stuff, Brion Gysin's stuff, Burroughs' stuff, Leary's stuff... psychedelic, tragic, radical, trivial, random, and mathematical stuff. And we have no "agenda," as they like to say these days.

We've followed the logical path. One day we just sold a spare Austin Osman painting to Chris Stein [of Blondie] and left. We spent time in Thailand, then we went to Nepal. Nepal was an amplifier and the confirmation of so many threads we have been unraveling and following for so much of our lives. The basic premise being AGORI... the path of no distinction. In this, everything is equal. There is on Shadow. All aspects of life and death, the minute to grandiose scales are fully integrated. Thus, no comment upon this amazing state of affairs is necessary. The most fabulous is commonplace. Devotion is as ordinary as taking a breath... and, of course, as extraordinary. We'd leave the hotel and cross the river, and there'd be dead dogs floating in sacks, or lodged in the mud banks with huge pigs eating their remains. There'd be children's corpses being cremated on the burning chats, their ashes swept into the same river while, further downstream, women were washing their cooking pots. Next to the burning children, there'd be workers eating breakfast, lepers begging, tourists taking pictures, Hindus prostrate... all in devotion , all simply living...

That's where we were just as we were being attacked in England. And thus we were better able to deal with the attack and its ramifications. We were able to say, "So what?" I mean, here were the Tibetans dealing with genocide. They've lost everything and yet they were embracing us without asking "Who are you, what do you believe, what do you do...?" There was a deeper sense of connection and recognition that instantly allowed us all to converse and be together. No justification was necessary. Ah, blessed relief! In the same way, the Shiva saddhus, the Nagas and the Agoria Baba... all highly evolved, threshold pushing, ascetic strands of Hinduism that believe in the "Path of No Distinction" ... they welcomed us too. We were on a bridge at Pashapati, near the main burning ghats, when suddenly the most revered holy man of the Agori was standing by us in his dreadlocks, and took us into his chamber where Europeans are not ordinarily allowed. There we sat around a fire which hasn't gone out once in over a thousand years. We exchanged spontaneous gifts, suspended Western categories of thought, and absorbed the peace of primal vision. To be trusted is such a fabulous gift, even greater when one is given that trust under no obligation. The Agori Baba gave us a white ash form the thousand-year-old-fire, "to take with you to bless America" he said.

Strength. We've kept that strength through everything that's happened since then. It's very reassuring, an embrace in a realm beyond thought or sense. It is this momentary experience of "belonging" that is carrying us through; this basic task of navigating through the unexpected conjoining and juxtaposition, grappling with the grinding together of things is like learning a martial art. To bend, flow, parry, using the strengths and rushes as our own muscles.

That's the first step, getting these survival tools. Then the game is: do we finally evolve, or not? I talk about a human(e) race where the extra "e" is added to suggest ecstasy, eager, evolutionary, evil, experiential, egolessness, etc. In other words, whatever happens next. Above all else, a risk-taking explosion with the eeego tacked onto this story. We are each there within this mystery. We're at a point where there's going to be an evolution away from the previous static system into the embracing of chaos.

HAKIM: I don't think that we're evolving towards anything, in the Teilhard de Chardin sense of evolution being directed toward the collective organism of human mind. I have a lot of problems with that. But if you start to look at the way the world is going: political - you have a fragmentation of structure that is devolving down to smaller and smaller discrete communities at the same time that there's a globalization going on, then you can start to think of the paradoxical interaction of the global mind, the "all mind," becoming an increasingly coherent unity, even as individuation is becoming more profound. That seems hopeful, to me.

The problem is looking at it as an Omega Point. It's still teleological. And not only that, it's unjust. Because if Paleolithic human and medieval human and modern human are excluded from that Omega Point, then God is even a worse sonuvabith than we suspected. That's what I've always objected to in Teilhard, and that's the problem I have with the idea of an evolution. I can't see it as an evolution. I see it as an infolding. Change. This is why I've tried to develop the idea of the Temporary Autonomous Zone. Because I'm sick and fucking tired of waiting for the revolution or the evolution. A certain degree of selfishness is required. And that selfifshness also involves an altruism, because what I want for myself obviously must be available to the other.

I want to get away from the Newtonian force and talk about the power in a fractal design. It's not teleological, nor vitalistic. It's not pointing to the future. It's not pointing to the past. Ilya Prigogine talks about "creative evolution," which to me is an infolding. It doesn't fold itself out towards the future, but it infolds itself towards desire.

JOHN: The basin of attraction.

HAKIM: The basin of attraction is the infolding of desire.

GEN: Basically, if what you're doing is dragging people across the line of what they'll accept, then it's endorseable. It was actually Tim Poston, my catastrophe theory friend, who gave me direction in this area. We did a magazine together called Delusions of Grandeur in the 60's. The original slogan was "The Possibilities Alone are Endless." As he pointed out, the "The Impossibilities are Endless" too, as are all those phenomena which are neither possible nor impossible. The addenda are implied, not necessarily alluded to. There is a geological term I was made aware of later by a kinetic artist named Gerald Fitzgerald. (He was a prime mover in the Exploding Galaxy fluxus and happening group at the time, along with Derek Jarman and myself.) The term is quaquaversal, which means "pointing in every direction simultaneously."

JOHN: The challenge, at this point, is learning to read the tea leaves in such a fashion that your interpretive assumptions bear some relationship to the next person's. So your society doesn't just dissolve into babble; so you're not isolated by everybody's unique magical universe. One approach might be the ritualization and the re-tribalization of society. The point isn't that we agree. The point is that we all dance.

HAKIM: Nietzche said that if we want to be a dancing star, we must have chaos within us. So, already in the 1880's, this concept was out there.

JOHN: Well, it was out there long before Nietzsche. Don't forget Shiva.

GEN: That's one of the most rejuvenating things about traveling in the Far East. There's a deep sense of continuity, a time-depth to the exploration.

HAKIM: It's only a very small time we've had history. It's useful to think of history as this thin layer of slime over a huge sea of the Paleolithic. It's not a question of a return to the Paleolithic but a return of the Paleolithic.

GEN: Now we really don't even belong to Her Majesty. We were subject. Theoretically, we were actually owned by Her Majesty.

HAKIM: Along with the swans and Scottish Deerhounds.

GEN: I'm basically on the run and feeling good about it. The Global Village definitely seems to be forming. We're commuting to Japan. The Japanese are commuting here. Computer terminals and modems are linking people up. In all this action forms the wraith-like Global Village. There seem to be a lot more doors and windows left open than there were a few years ago.

On the good days - which are many - we think about sending postcards to D.C. Yeoull at Scotland Yard. Pictures of us on the beach in Thailand or giving rice and dal to lepers in Kathmandu, or onstage with Timothy Leary, or sitting by a fire here in California with our creek in the background. We think of saying, "D.C. Yeoull! Thank you very much for your interest in our work, and more importantly, for letting us go free so we can finally travel this world and do so much more of it!"

HAKIM: Jesse Helms deserves a few letters like that too.

GEN: Did I tell you what Yeoull said when some friends of mine went and tried to demand our archive back? He said, "My job, as I see it, is to rid the world once and for all of this art scum." [laughter]

There's a lot to be said for the fanatic on your tail.

HAKIM: A good enemy is hard to find in this wishy-washy world of ours.

SPANNERED

‘Spannered’ by Bert Random is an illustrated novel about free-parties, friendship, and dancing. A thousand-mile-an-hour stomp through the dark and grimy corners of 90′s underground rave culture, it's a fierce reminder for those who were there and a vivid taster for those who weren't.

With Bert and his twisted crew of mates we experience the peaks and the troughs of a very long weekend, kissing the sky while stomping our feet to mind-blowing techno and scrabbling in the dirt looking for what is left of our minds as unreality starts to bite. This is a punters-eye-view of the most fun that drugs, dancefloors, and full-on music can offer.

As well as a disorientating story, ‘Spannered’ also contains twelve amazing illustrations from Bristol and London street and fine artists, including Silent Hobo and Rose Sanderson. You can buy ‘Spannered’ directly from Spannered Books 

Chapter preview - Buy it here

QUOTE OF THE DAY

"Anarchism is founded on the observation that since few men are wise enough to rule themselves, even fewer are wise enough to rule others."

 - Edward Abbey

STREET ART COMES ALIVE IN SUBWAY

Description:

This is a video I took on the Q train, going from Brooklyn to Manhattan. The work appears on the BK side, right before you get out of the tunnel and onto the Manhattan bridge. You will see it by looking out the south side of the train.

SYMZONIA : VOYAGE OF DISCOVERY

SYMZONIA;
VOYAGE OF DISCOVERY
BY CAPTAIN ADAM SEABORN

This is among the first and rarest of the Hollow Earth books. In the early 19th century, John Cleves Symmes proposed that the earth was actually a set of five nested spheres, each with polar openings. He unsuccessfully lobbied congress to fund an expedition to the poles to investigate this theory. This novel, based on Symmes' theories, was published in 1820. Some believe that Symmes was the author, but this has not been established beyond a shadow of doubt.

Probably the first US utopian science fiction novel, Symzonia is also a classic sea yarn. The narrator, Mr. Seaborn, initiates just such an expedition as Symmes dreamed of. With a special high-tech paddle boat, built with no metal to avoid magnetic effects, Seaborn sets out on a voyage into uncharted southern waters. Conflict is provided by a mutinous Mr. Slim, who proves to be Seaborn's nemesis. Eventually the ship penetrates into the Antarctic hole, and voyages deep into the inner surface of the earth, which Seaborn claims for the US and calls 'Symzonia'. They encounter a utopian society, run by a benevolent aristocracy, which has long since banished all of their misfits to a distant colony, and possibly the outside Earth. The Symzonians have advanced airships, boats with jet propulsion, flame-proof cloth woven from spiderwebs, and a mysterious weapon of mass destruction. Eventually, they expel Seaborn and his crew back to the exterior world. Due to a series of accidents, all material evidence of Symzonia is lost on the return voyage, and Seaborn is swindled out of his profits.

Continue reading.. or grab it here

MR. TAPE

Modris Skaistkalns also known as "Mr. Tape" at the DMC World Championship 1991.

AUGUST 2011 REVOLT : ANARCHY IN THE UK

‘August 2011 Revolt: Anarchy in the UK’ contains a rough chronology of events during the rebellion, and action communiques during the period from anarchist groups aiming to deepen and extend the conflict, as well as a couple of essays written after the main events analysing the nature of the revolt and prospects for the future.

CONTENTS:

No Future, Just Vengeance…………………………..1
An Incomplete Chronology of Events……………..14
Report of Demo at Brixton Prison, 21 August……41
Letter from fugitive anarchist Badger……………..45
The Struggle Against the Existent Continues…….49
DON’T PANIC::DON’T TALK anarchist poster……..62

PDF download (in Black & White)

Thousands have been locked up since the insurrection, police chase many others, and the state seemingly have social consensus from the mass of citizens for a more fascist Britain, but the fresh blast of freedom has filled our lungs and state terror won’t stop us.

ACAB

- Dark Matter Publications

THE FUCK-IT POINT

A film about the dark side of civilization, why we should bring it down and why most civilized people don't.

[THE FUCK-IT POINT]
'When you have had enough. When you decide to take matter into your own hands and don't care what's going to happen to you.

Support distribution and future projects: savagerevival.chipin.com

About

People from civilization are fast to point out that we cannot “go back” to hunting and gathering “stone age life”, there isn’t enough wild game left for us all and wild fruits and plants cannot fill our stomachs. But look at societies with “stone age” techniques; their minimum consumption, their ability to self sustain without degrading the land or make non-human species go extinct and their ability to survive extreme conditions. In contrast it is blatantly obvious that if the civilized continue the path they are on we are all heading for disaster.

There seem to be no way to sustain civilization any longer, but that might not be such a bad thing for the rest of the world, because its collapse is taking place due to a larger collapse: the collapse of cultural diversity and the loss of biodiversity famously called earths sixth major extinction event which is the dark side of the progress of civilization

GUNNAR HAUTH: FREE TEKNO

Free Tekno is a journey into the underground of illegal underground tekno festivals in central Europe. The crew travel with a group of Dutch and Irish boys who throw illegal rave parties in the forests of Germany and Czech Republic and gain access to an underground that many have heard of but few have seen.

A documentary by Gunnar Hauth. 

"In central Europe thrives an underground culture of illegal tekno parties,

open for everyone to join and participate. 

The tricky part is finding out where and when they occur.."

Watch the full documentary at Icelandic Cinema Online (1 EUR via PayPal)

If you do not have access to a PayPal account, you can download it here.

Support if you can!

UPDATE 05/07/2012 

you can now watch the complete documentary on YouTube via this link!

CYBERPUNK BY MARIANNE TRENCH

Overview: Cyberpunk is a documentary that looks back at the 80s cyberpunk movement, and more specifically, how this has led to a trend in the “real” world where people were starting to refer to themselves as “cyberpunk.” The documentary sees “cyberpunks” as being synonymous with hackers. A number of writers, artists, musicians and scientists are interviewed to provide context to this movement. The guiding meme, as told by Gibson, is that information “wants” to be free. 60s counter-culture drug philosopher, Timothy Leary, provides a prediction that cyberpunks will “decentralize knowledge,” which will serve to remove power from those “in power” and bring it back to the masses. Many different potential technologies are discussed, including “smart drugs,” sentient machines, advanced prosthetics – all of which serve to give context to the idea of post-humanity and its imminent arrival on the world stage. source: cyberpunkreview.com

ANARCHY RECORDS

CREATIVITY WITHOUT COPYRIGHT

Creativity Without Copyright:

Anarchist Publishers and Their Approaches to Copyright Protection

Abstract:

This paper offers an analysis of the intersection between anarchism and copyright law by drawing on interviews with publishers working for anarchist and radical presses operating in the United States. Given the ideological commitment of anarchists to a critique of property rights within a capitalist system, it can be hypothesized that anarchist publishers would be less likely to endorse a system of copyright than mainstream book publishers. However, anarchist publishers operate within a capitalist system and must theorize their use (or lack of use) of copyright within a framework unsuited for their ultimate goals. Ultimately, anarchist publishers offer an opportunity to investigate the theory and practice of anarchism as it is confronted by a capitalist system of property protection – copyright law.

GRAB IT HERE

AMIR SULAIMAN - DANGER

"i am david with a slingshot and a rock
and if david lived today
he'd have a molotov cocktail and a glock
so down with goliath,
i say down with goliath!"

FRAKTURA - ISSUE #1

First issue of the zine Fraktura (Spanish) by Eskombros Klan & TeknoCokos soundsystem in collaboration with C.O.K.O. La Kondenada. The zine has several themes such as the (local) free tekno movement, cyberpunk, Mutoid Waste Company, Reclaim the Streets and much more.

- via Tekno con K

GRAB IT HERE

 (The PDF file is too big for Google Transelate, so you will have to copy and paste. That'll keep you busy for a while :D) 

THE GHOSTVILLAGE PROJECT

WATCH IT HERE

This short documentary was shot in October 2009 on the remote Cowal Peninsula in the west of Scotland. It details arts collective Agents Of Change's transformation of an abandoned village of Pollphail into an open-air art gallery.

Six artists - Timid, Remi/Rough, System, Stormie Mills, Juice 126 and Derm - were given free reign to paint anywhere in the complex.

The brutalist 1970s concrete structures had never seen human inhabitants - the site was constructed ostensibly as a base to house workers needed to construct concrete oil rigs, but the plan was subsequently abandoned - but were ideally suited to the separate styles and methods employed by the collective.

Working together on huge collaborative walls and individually in hidden nooks and crannies all over the site the artists realised long held dreams and were inspired by the bleakness and remoteness of the site. Drawing on the history of the village the artists' stated intent on completion of the project was to populate the ghostvillage with the art and characters that it deserved.

Inspired by the marked contrast between the architecture and the surrounding landscape of rolling hills, forests and lochs, the artists worked for three days through challenging physical conditions to produce foreboding yet hauntingly beautiful artwork all over the site. The viewer is rewarded with a unique insight into the world of the graffiti artist and an opportunity to experience the creative process behind such a huge undertaking.

Short fact:
Word spreads fast in the highlands of scotland - 10 minutes after arriving on a site 3 hours from the nearest large settlement we had a crowd of children and the local police for company.

More @ Agents of Change

THE PRIVATIZATION OF CREATIVITY

The Privatization of Creativity
The Ruse of "Creative Capitalism"
by Max Haiven / May 9th, 2012


Published @ Dissident Voice

The problem with the new hype around creativity is that it presumes that the economic system we have, with all its gross injustices and horrifying effects (global warming, child poverty, unrewarding jobs, imperial warfare, the exploitation of the third world), is inevitable. It doesn’t really imagine that everyone will get to express their creativity and enjoy the life of the artist. In fact, the new hype over creativity actually (ironically) makes us less creative in how we think about social problems and solutions. It makes creativity an individualized thing, the “private property” of each isolated person.

[...]

What capitalism does, in effect, is fundamentally shift what we could call the “economy of creativity”: it drastically alters what sorts of creativity we think are valuable and it focuses humanity’s creative energies towards earning ever greater profit for a few. While this system has produced many fine things, it is destroying the planet and most people’s lives because it has no broad vision of a decent future. It is driven only by irrational and pathological competition for profit, not by any compassionate and collective social vision. Imagine what the world would be like if we focused our creativity and energy towards other ends?

[...]

What will be key for organizers and activists fighting within and against the hype of creative capitalism, whether they are fighting worker exploitation or neighbourhood gentrification, will be acknowledging that the promise of creativity, while hollow, truly does move many people. It is precisely because our world offers so few substantive opportunities for creative expressions and efficacy that the rhetoric of creativity is so appealing. Creativity is valuable. Our task can be limited neither to pointing out that creativity is a carrot, nor showing that along with that carrot is the stick of brutal global economic terror. Nor can it be a flight into the most esoteric and self-reflexive forms of creative expression in a vain hope to avoid commodification. Instead, we need to focus on making it clear that real, deep creativity can never be achieved as an individual possession but is always a collective process, bound up with values of equality, social justice and community. In other words, the promise of creativity can only be fulfilled in a very different society than ours. Creativity must embrace its tradition, potential and promise as a key part of cultivating critical, revolutionary communities that resist capitalism, colonialism, gender oppression and racism and create fierce and sustainable alternatives within and against the status quo. Creativity is, in part, the way we refuse our current “reality” and, in a very small and often abstract way, propose or model something different. When creativity joins, supports and critiques social movements for radical change, or when it helps imagine and build the post-capitalist society of the future in the present, it is at its very best.

TASTE THE WASTE

TASTE THE WASTE
A documentary about the worldwide destruction of food
Why do we throw away so much? And how can we stop this kind of waste?
Film by Valentin Thurn

Amazing but true: On the way from the farm to the dining-room table, more than half the food lands on the dump. Most of it before it ever reaches consumers. For instance every other head of lettuce or potato.

When it comes right down to it, no one actually thinks this is okay: Food is not something to be thrown away “because others have nothing to eat”, as younger people would say, and as for the elderly: “I was around during the war and we were glad to get our hands on every crust of bread!” That’s one side of the story. They discover the other side when they venture a look into dumpsters: behind their local supermarket and, if they can summon up enough courage, in the trash cans outside their own door. We’re not talking about chicken bones and potato peels here. The topic at hand is perfectly edible food, some still in the original packaging, and frequently enough not even the ‘best before’ date has expired. Around 100 pounds per household each year. Even more, about twice as much, is ‘rejected’ on fields, in factories and at retailers.

Why are ever-greater quantities being destroyed? We seek explanations: from supermarket sales staff and managers, from bakers, wholesale market inspectors, welfare recipients, ministers, farmers and EU bureaucrats. It’s a system that we all take part in: Supermarkets constantly have the complete selection of merchandise on offer, the bread on the shelves has to be fresh until late in the evening, strawberries are in demand at any time of the year. And everything has to look just right: One withered leaf of lettuce, a crack in a potato or a dent in an apple and the goods are sorted out; containers of yogurt as early as two days before the ‘sell by’ date has expired.

Agriculture is responsible for more than a third of the greenhouse gases worldwide because farming requires energy, fertilizers and land. What’s more, whenever food rots away at a garbage dump, methane escapes into the atmosphere, a climate gas with an effect 25 times as powerful as carbon dioxide. In other words, when we waste half of our food that has a disastrous impact on the world climate.

And on famine, too. My mother always reminded me to eat everything on my plate: “Children in Africa would be glad to have that food.” We children never took her seriously. How were the leftovers on our plates supposed to get to African children? Yet my mother’s statement proved to be as good as prophetic. The rising prices of wheat clearly illustrate the point: These days we buy our food on the same world market where developing countries buy theirs. If we threw away less and bought less as a result, the prices would drop and more would be left for the hungry.

Continue reading @ source

WE RULE YOU