January 30, 2013
Categories: Film, Hip Hop, Poetry . Tags: Leeds . Author: Micolagist . Comments: 1 Comment
Other Colours of Noise
Phonode
Phonode is a new website devised by the UE collective. It will focus on the more exploratory fringes of electronic music, demystifying the techniques used by musicians and artists working in the field, reviewing albums and equipment as well as examining the new processes and ideas which drive its creation. As the boundaries between noise and techno blur, disparate scenes seem to cross-pollinate more than ever before, and electronic music returns to a more experimental DIY aesthetic – the time seems ripe to launch a fresh investigation into where electronic music is at, and where it’s going next…
_
Clay and the Collective Body
Just read a really interesting interview with sculptor Antony Gormley (in New Scientist magazine, of all places) that had a surprisingly political slant.
His recent installation Clay and the Collective Body explores “conversations between people – through objects or through the process of creating” by locking 100 random people in a stark white environment, with only a monolithic block of clay for entertainment. This “gave rise to an extraordinary and explosive outpouring of, you could say, collective unconciousness.”
This alien place seemed to trigger something in the participants, something primal that if I was more of a “yogurt-weaver”, I may be tempted to call a universal human connection – certainly the only familiar sight were other people, and the only way of killing time was to create.
“What’s absolutely beautiful is the way that people have occupied that space and become the absolute opposite of what capitalism wants us to be – passive consumers of spectacle, of information, of entertainment, of objects of desire – they become participatory and productive and cross-fertilising.” I thought it was particularly apt that Gormley chose to use the word occupy in that context.
Although Gormley goes on to state that he never intends to make overt political statements with his work, he lets slip that “…there’s no question that many of my works, in different ways, are asking about the connection between humans and our environment. And I think that all my installations in cities of the naked human animal in effigy form – surrogate fossils, industrialised fossils – are asking, where does humankind fit? Now that we seem to be well into the sixth great extinction, how long are we going to contribute to the evolution of life? Those are very big issues” – and undoubtedly political ones.
Another subject that Gormley brings up in the interview, that is also a favourite of my own, is that of Easter Island.
This ‘ghost island’ captured my imagination from a very young age, as it seems to encapsulate the power that art and iconography can hold over people, our self-destructive tendencies, the damage that can be caused by a flawed belief system and the folly of excess that human civilization seems prone to follow.
“What was in the mind of the man or woman on Rapa Nui who cut down the last tree? It seems the answer to that question is “Well, I cut down this tree because that was what my father did and that was what my father’s father did.” I think we’re in the same position, but we are running on the myth of progress. My work is there to ask pretty serious questions about how we can shift our perception of what constitutes viable human actions or viable human behaviour.”
I always thought there was an eerie connection between Gormley’s sculpture and the statues on Easter Island, and I’m pleased to learn my instincts were close to the mark. Both signify mankind’s strange detachment from the world that bore him, and the lonely marks left on the land after he has gone.
Gormley also goes on to criticise elitism and the determinism of scientific progress – it is a thoroughly thought provoking and enlightened article, that has once again piqued my enthusiasm for art’s potential to induce change, by making us take a long, hard, look in the collective mirror.
Read the whole interview in New Scientist
Haikyo Volume One
New compilation album for free download from Dead-Channel.com – featuring the work of the Urban Exploration collective – Download here
The Pussy Riot Trial
I never thought I’d say this, but massive respect to Madonna for her stunt supporting Pussy Riot. People like Yoko Ono and Sting have made statements in support of the band and stuff, but only Madonna went to Russia personally and performed in front of a crowd of thousands of people with their name scrawled across her fucking back! I know she’s a master of cynically using controversy for her own publicity and everything, but fair play to her for this one – I just hope it makes sufficient impact. The fact that sentencing has been delayed may indicate that they are wavering under growing public support for Pussy Riot’s plight.
Madonna’s performance certainly seems to have offended the right people, with a Russian deputy Prime Minister (and former ambassador to NATO) tweeting “With age, every former slut tries to lecture everyone on morality” and a priest from the Russian Orthodox church urging believers to call in bomb threats to disrupt the gig! It sounds like they are clutching at straws to me. You can read more on this in The Guardian.
Pussy Riot’s closing statements yesterday took the form of a rousing speech against the authoritarian regime in Russia, leaving no doubt in my mind that these women are true freedom fighters and intelligent artists who have been demonized as part of a wider crackdown on dissent in the country.
The closing statements from Nadezhda Tolokonnikova in trial. 8 august 2012:
“Yesterday (on the 7th of August according to the website lenta.ru) Madonna’s performance took place. Madonna performed with the inscription “Pussy Riot” on her back. More and more people see that we are kept in pre-trial prison illegally and because of an absolutely false accusation. I am astounded by it. I am astounded by the fact that truth really triumphs over lies though we are physically here, in the cage. We are freer than all the people sitting opposite us on the side of the prosecution because we can say everything we want and we do it. As for the people from the side of the prosecution, they say only words passed by a political censor. They can’t say such words as “punk-prayer” and “Virgin Mary, redeem us of Putin!” They can’t say the lines from our punk-prayer that are related to the political system. They probably think that another reason why we are to be put into prison is our rebellion against Putin and his system. But they can’t say it because they are prohibited to do it. Their mouths are sewn. Unfortunately, they are just puppets at this trial. I hope they will realize it and will also head for freedom, truth and sincerity because all this is more important than static nature, affected decency and hypocrisy.
Because we don’t really have religious hatred, and never had it, our accusers have no choice but to resort to using a false witnesses. One of them – Motilda Ivashchenko -got ashamed and did not appear in court. And there is no more evidence of our hatred and enmity, in addition to this so-called expertise. Therefore, the court, if it would be honest and fair, must admit inadmissible evidence, due to the fact that this is not a rigorous scientific and objective text, rather dirty and mendacious piece of paper times of medieval inquisition.
Prosecution is ashamed to voice excerpts from lyrics by PussyRiot, because they are in fact the evidence of the lack of motive. I’ll present you this excerpt here, I think it’s very valuable. It’s from the interview for the “Russian Reporter” magazine, that was given on the next day after the performance in the Chuch of Jesus The Savior: “We feel great respect to any religion and to orthodoxy in particular, that’s why we’re so distressed about that, so great and so positive as it is, Christian Philosophy is being used in such a filthy way. Our brain is getting blown out by that all this beauty is being now used from the back. All of this is quite painful to observe.
14:47 In the end I’d like to quote one of the Pussy Riot’s songs, as if curiously enough all of them turned to be fateful. Including the one which says: “Head of the KGB, their major saint, guides the protesters to detention under escort”.
15:06 And what I’m going to quote right now is this very line: “Open all doors, take off your shoulder straps, feel the air of freedom with us”.”
Good luck Pussy Riot, you have our love and respect.
Why Comedians?
In the wake of the current onslaught against first, Jimmy Carr, and now Frankie Boyle for exploiting tax loopholes, the obvious question is why are comedians bearing the brunt of the flack against this endemic practice? Whether or not they are guilty of “moral” crimes (as David Cameron, of all people, would have it) ignorance or just “thrift” – neither of them had broken the law as it currently stands, but simply “managed” their accounts using the same old methods rich people have been using for generations. Creative accountancy is booming business and tax evasion is nothing new. Cameron’s own family fortune was made in tax havens. So is it one rule for big business and another for the rest of us? Why call comedians out for their financial activities when it is so common place among all the wealthy? Is it because they are accused of hypocrisy – undermining the moral high ground they appear to take in their performances? Are they just being called out to set an example because they are household names? Or is it just plain old mudslinging?
Arguably comedians have greater sway over public opinion than most politicians these days, and that may make them a legitimate target on the political playing field. Both Carr and Boyle have been critical of the government and the right-wing media in the past, and both are very popular performers, potentially influencing the opinions of millions of voters. Satire is still one of the most effective weapons against authority, and maybe it is beginning to be treated as such by those who wish to maintain the status quo, and those who have the most to lose in a swing to the left – people like The Daily Mail and David Cameron – the very people lining up to sling the mud. I very much doubt that this is a coincidence – either way it seems very convenient for them!
Frankie Boyle hit back at the allegations in The Daily Mail, tweeting:
“Amazed to read a Daily Mail story that is bollocks. Whatever next? I’m going to stick up the details as soon as my accountant wakes up.”
and
“From 2007 I have paid £2.7million in tax and this equates to just under 40% of my income. 1/5”
and
“I am certain I pay more tax than most people in show business and the cabinet. 5/5”
I propose, if this new wave of investigating comedian’s bank accounts is to continue, that the same should take place for all those who work at (and own) The Daily Mail group, the cabinet and every single Tory MP in the houses of parliament. Anything less would be grossly unfair to comedians. Now let’s see whose shirt is clean…
Life in the Overgrowth
Music by Urban Exploration
Arrangement and Video by Conflux
Hip Hop of the Arab Spring
Tunisian soundtrack to the revolution ^^
BBC article on Is hip hop driving the Arab Spring?
Music of the Egyptian revolution, including my own attempt Al Thawra.
It Never Rains But It Pours
It looks increasingly like Soundcloud is on dodgy ground to my mind. I cancelled my own premium subscription to their service after there was an unacceptable level of downtime. If I’m paying for something I expect it to be reliable, if it ceases to be so, I reserve my right to refuse to pay.
Now it looks like the website is cracking down on the supposed copyright infringement inherent in it’s DJ and Remix content. Sampling musicians, DJs uploading mixes and remixes made the website what it is today, so what gives? Has the website now got too big for it’s boots? Are DJs and producers going to have to go elsewhere to ply their wares?
Maybe we should all cancel our premium accounts, see how they like that?
Have a read of this article in Chicago Reader for a deeper insight into what Soundcloud are up to…
More views on this news (and the above image) can be found on digitaldjtips.com
Björk’s Moon
More reasons to love the Icelandic 😉
Religulously Funny
Pretty late to the game as always, I know, but I’ve only just seen this film. A no-holds-barred comedic assault on all organised religion, it is both poignant and hilarious (just what you’d expect from the director of Borat, Larry Charles). Bill Maher travels around talking to various religious types, ruthlessly takes the piss out of them and reveals the gaping holes in their beliefs in the process. It is refreshing to see this sort of thing, as religion is considered a no-go area for such treatment by many, and you can rest-assured, Religulous is as deeply offensive as it sounds! I like that kind of thing it must be said. If there’s one thing holding back social progress (aside from the relentless pursuit of profit, of course) it is irrational belief. If you are an Atheist or Agnostic, or you’re just having theological doubts, you definitely should watch this. Or is that just ‘preaching’ to the ‘converted’?
This rip is a bit weird as it has been flipped, but it’s still pretty watchable. Que up all 10 parts and enjoy 😉
Clark – The Pining
New summery psychedelic sound from Warp’s biggest chameleon, Clark.
This is the second track preview from Clark’s new album ‘Iradelphic’ to be released 2nd/3rd April 2012. More info http://warp.net/clark & http://facebook.com/throttleclark
Preorder – http://bleep.com/index.php?page=release_details&releaseid=34461
Review coming soon…
Black March is coming…
I’m a musician and DJ, I help to run a record label and have been involved in running live music events, promoting independent music and writing about it online for many years – I love music and the people that make it, but I don’t have much love for the music ‘industry’. Like most big business entertainment, the music biz leeches off the hard working and the talented, makes huge profits and routinely fucks over both the artist and the consumer.
Have a look at this link if you are still in any doubt about who this parasitic behemoth really benefits. It aint the musician.
These are the people that are lobbying governments worldwide to monitor online content, censor and remove websites they don’t like, and they support the introduction of draconian litigation such as the now infamous SOPA, PIPA and PCIPA bills, to defend their industry.
While I completely support the musician’s right to earn a living from their craft, clamping down on internet freedom is not the way to defend it. A free internet is vital for a free world. If governments and corporations have increased powers over internet content that freedom is threatened. The web is the most powerful tool we have for self-expression, inducing social change and for the dissemination of great art and music. We cannot allow these people to take that away from us.
This is why I support the Black March campaign.
From the 1st of March 2012 to the 31st, we ask you not to buy any music, DVDs, computer games or books – don’t even torrent a song! Wait till the 1st of April and buy it then. No one will actually lose any money, but the visible dent in their profit margins for the first quarter will send a powerful message to the corporations and organisations that wish to push these online censorship measures. We can stop this going through. Wikipedia and others going dark last month, and the attacks by Anonymous have already made policy makers hesitate. If music consumers join the fray, they will have another powerful enemy. Vote with your wallet and support Black March – boycott the music industry next month.
Some of my friends have expressed concerns that this campaign will somehow hurt small labels and record stores, who of course have nothing to do with lobbying for increased control of internet content. My answer to this dilemma is very straightforward. Buy the music you would have bought in March now. And spend more again in April. Of course you should support the small businesses and record labels you respect. This isn’t about them. This about sending a message to the industry as a whole, the big distributors, the fat cats and to governments around the world. We will not tolerate internet censorship in any form.
If you care about online freedom, please get involved in this campaign. If you wish to see a fairer music industry, buy music directly from the artists and from small record shops. Fuck Universal. Fuck Disney. Fuck News Corporation. Fuck Sony Music Entertainment. Support freedom and creativity.
Sorry for the rant peeps! If you’ve read this far I salute you. Peace out.
Reflections on another Black Mirror
The second installment of Charlie Brooker’s Black Mirror leads us to another implausibly grim vision of the future, but the main difference between The National Anthem and 15 Million Credits, is that the latter is actually rather good.
Co-written by Kanak ‘Konnie’ Huq (of Blue Peter fame) and directed by Euros Lyn (Doctor Who), this modern fable is a surprisingly entertaining glimpse at a possible future dystopia. We can only guess that what unfolds is society’s answer to the impending energy crisis, as people are put to work on millions of exercise bikes to fuel a hi-tech, computerised existence, obsessed with mindless entertainment and online living – distractions from their slavery.
The plot is much more emotive and engaging than the first episode, with characters you actually care about and everything – and it does what all great satire should do, which is to push the current way of things to the extreme, in order to reveal some hidden truths about their nature.
It’s also really heartening to see some proper Science Fiction back on the television. The best Sci-Fi uses the future to tell us about the present, and 15 Million Credits does this better than most. Its exploration of the cruelty innate within Reality TV shows like The X Factor is undertaken by pushing them further in that direction. Its subversion of the idea that social networks somehow bring us closer together, its parody of throwaway digital culture, web advertising and online pornography and its use of a Microsoft Points-style credit system in place of a currency – all have deep sociological and psychological resonances with the new ways we have begun to live our lives through technology.
Black Mirror’s dark future is like our own world with the volume turned up, and what is reflected back is not a pretty picture. Most worrying of all is how the technology is used to placate us, used to make the population do the bidding of the powers-that-be, by removing people’s freedom of choice and disempowering them, while making them believe they are actually getting exactly what they want. In full high definition. Just keep peddling and saving up those credits and all your dreams will come true, citizen. It’s the same lie we’ve always been told, and the black mirror of the ubiquitous LCD screen reflects both that, and a ghostly wan imitation of our vitamin D-deprived faces. Now plug in, shut up and resume viewing.
This is a very clever caricature of our increasingly digital world, the full consequences of which, we are still oblivious to. Let’s just hope Brooker and Huq’s vision of a malevolent force behind the network is just another dark fantasy and not a true sign of things to come.
Can’t wait for next one now…
Watch On 4OD
Manchester Apocalypse
An exhibition of works by artist James Chadderton has gone on display at the Incognito Gallery in Manchester’s Northern Quarter. The images depict a post-apocalyptic vision of the city. Photographs have been shopped to great effect, transforming modern-day Manchester city centre, into an urban wasteland.
Chadderton said he was inspired by “the visuals and themes of post apocalyptic films, books and games. The quality of films like 28 Days Later, The Road, Children of Men and games such as Metro 2033, S.T.A.L.K.E.R and the Fallout series has given me a huge amount of inspiration for creating work”.
Hope I get to see it before it closes on the 4th Jan 2012!
First Impressions on Black Mirror
Unbelievable, nauseating and bleak are all suitable adjectives for the description of Charlie Brooker’s latest satirical drama, Black Mirror. When I heard about the premise, I suppose I was hoping for something akin to a dramatised Brasseye Special, or Nathan Barley with added politicians and bestiality – but struggled to find the humour in it to be honest. The TV-crime-drama aesthetics and tempo also put me off a bit, and the implausibility of the plot left me cold.
Having said all this I will still be watching the next two instalments of this mini-series, as I’m interested to see where he takes it next. Certainly, the YouTube generation is ripe for satirical analysis, and holding up a “Black Mirror” to the unseemly side of our digital lives and the effect it has on society and politics, is virgin territory that needs to be charted. And who better than Charlie Brooker to have a go!
I hope the next one is either more believable or more comedic, as I think The National Anthem fell between two stools, in so much as it was neither, and needed to be both, to be all that effective as a satire on our networked zeitgeist. The first episode felt like watching someone’s dark fantasy made real, rather than a future history playing out – but maybe that was the point Brooker was trying to make – that the internet age can bring that dark fantasy one step closer to being real. And that people will watch it. In their millions…
I Am Not A Number
I feel the need to put into words some of the mental ramblings that have been preoccupying me of late. I apologise for any lack of coherence herein, please bear in mind that in some respects I am just thinking aloud.
Big changes are happening to the political landscape. Could this be the beginning of the end for Democracy in Europe? Are we being ushered into the new age of the Technate as a last-ditch attempt at saving free market Capitalism? It is far too early to tell, and I am certainly no expert in the subject, but I feel this is something we must strive to understand, and quickly, before it is too late to stop what may have been already set in motion.
Italy and Greece have now had their democratically elected governments removed, and in their place Technocratic administrations have been imposed, to make the “unpopular” decisions required to rescue their respective economies. Milanese students took to the streets yesterday to protest against this unelected “bankers’ government”. Police responded by charging the students with batons. In Athens too, violence broke out in protest against the new unity government, as thousands of demonstrators and anarchists met with thousands of police officers armed with “stun grenades”. “Down with the government of socialists, conservatives and fascists,” a protester’s banner said. Greece’s third largest party, the Communists, and the smaller leftist Syriza party have pledged to fight to bring down the government to prevent further cuts, in a country mired in a deep recession since 2008.
When I imagine a world run by Technocrats enforcing strict economic restraints, I am reminded of George Lucas’s Kafkaesque debut feature, THX 1138 – a dystopian nightmare vision in which human emotion is controlled through government-administered narcotics, where names are replaced by codes, people become numbers and every aspect of life is run to a stringent budget. The film is extremely cogent and leaves a lasting impression, akin to that of Huxley’s Brave New World or Terry Gilliam’s outstanding feature film, Brazil. It highlights the inhumanity, latent within bureaucratic systems of control, the dangers of totalitarianism and the fragility of freedom. But surely the fledgling Technocracies of Italy and Greece will be very different from this bleak cinematic experience? Surely this sort of dark fantasy could not be actualized in 21st Century Europe? What happens when you forcibly remove Democracy, does freedom vanish overnight? Are we on the brink of something sinister?
While THX 1138 certainly raises important issues and warns us of the potential dangers of such systems, it could just as easily be seen to be an overly simplistic and overtly sensationalist critique of Soviet Communism – and while this agenda may do nothing to undermine the legitimacy of its harrowing message, because of this bias we cannot rely on it, in any way, to tell us about the true nature of Technocracy.
So what the hell is Technocracy? It is a concept few people understand.
According to the fountain of knowledge that is Wikipedia, Technocracy is a form of government where important decisions are made by scientists and experts, rather than elected politicians.
Technocracy is a form of government where technical experts are in control of decision making in their respective fields. Engineers, scientists, health professionals, and those who have knowledge, expertise or skills would compose the governing body. In a technocracy, decision makers would be selected based upon how knowledgeable and skillful they are in their field.
Technical and leadership skills would be selected through bureaucratic processes on the basis of specialized knowledge and performance, rather than democratic election by those without such knowledge or skill deemed necessary. Some forms of technocracy are envisioned as a form of meritocracy, a system where the “most qualified” and those who decide the validity of qualifications are the same people. Other forms have been described as not being an oligarchic human group of controllers, but rather administration by discipline-specific science, ostensibly without the influence of special interest groups.[1]
As of 2011, Italy has a technocratic goverment – see Monti Cabinet.
Politics is supposedly about ideals and morals as much as it is about systems’ management, but this aspect seems missing from the Technocratic vision. The primary problem with this sort of government must be to do with accountability. How can you be sure the experts placed in charge are working in the best interests of the people, and not merely serving their own interests or those of a wealthy ruling elite? In a Democratic system, at least the people can supposedly vote-out a government that is not working for them – although you often hit upon the problem that none of the electable parties are working for the people!
What may come as a surprise to some, is that many of the trailblazers of Technocracy, were some of the great thinkers on the historic Left, such as Henri de Saint-Simon and Friedrich Engels, who believed an authoritarian, State-controlled economy, was the only way of creating and preserving an egalitarian society. A scientific socialist theorist, Engels envisaged that the state would eventually die out and cease to be a state, when the government of people and interference in social affairs was replaced by an administration of things and technical processes – a sort of anarchic Technocracy. But surely this sort of system can only exist in a positive state if the people have given their consent to this sort of economic management – otherwise ruthless control of those people is needed to keep that system in place – and you are back to totalitarianism, THX 1138, Huxley et al. I doubt this is what Engels had in mind. Unchecked rule by bureaucrats has become a trademark of totalitarian regimes, such as those that existed in Nazi Germany and Soviet Russia. George Orwell described Technocracy as a precursor to Fascism. What was Adolf Eichmann if not a Technocrat? How can this be reconciled with Socialism?
More “wisdom” from Wikipedia:
In the economy of the Soviet Union, state ownership of the means of production was combined with central planning, in relation to which goods and services were to be provided, how they were to be produced, the quantities, and the sale prices. Soviet economic planning was an alternative to allowing the market (supply and demand) to determine prices for producer and consumer goods. The Soviet economy utilized material balance accounting in order to balance the supply of available inputs with output targets, although this never totally replaced financial accounting. Although the Soviet economy was nominally a centrally-planned economy, in practice the plan was formulated on-the-go as information was collected and relayed from enterprises to planning ministries.
Socialist economists and political theorists have criticised the notion that the Soviet-style planned economies were socialist economies. They argue that the Soviet economy was structured upon the accumulation of capital and the extraction of surplus value from the working class by the planning agency in order to reinvest this surplus in new production – or to distribute to managers and senior officials, indicating the Soviet Union (and other Soviet-style economies) were state capitalist economies. Other socialists have focused on the lack of self-management, the existence of financial calculation and a bureaucratic elite based on hierarchical and centralized powers of authority in the Soviet model, leading them to conclude that they were not socialist but either bureaucratic collectivism, state capitalism or deformed workers’states.
Or indeed Technocracies. Certainly my own political awakening and evolution has been marred by these past failings by supposed Marxists, trying to impose a “fair” economic system through extreme authoritarian control, the so-called Thermidorian phase – and while I can see why such a conservative period, post-revolution, may be necessary to establish a new system, my gut reaction to an all-powerful state is simply to fight it. How can a Technocracy ever be considered socialist if the people have no say in how it is being run? It simply becomes another system of control, where a ruling elite of “experts” is in charge and the masses do as they are told.
I very much doubt that these new Technocratic governments in Europe will begin to resemble Stalin’s bureaucrats – they are all working for the bankers and the existing financial elite after all, a system which relies on the free market. But this opens up a bigger debate for anyone left on the Left, for all those involved in the Occupy movement worldwide, and for all those who wish to end predatory capitalism. It reveals a dichotomy in my own thinking that just won’t go away. How do you create a fairer society without destroying people’s freedom?
I sometimes feel I have the head of a Marxist and the body of an Anarchist, and although they are fighting for the same thing, they are also fighting with each other and differ very much in how to go about it. When I take the Political Compass test, I come out as extreme Left Liberal – or Anarchist.
This is how you’d expect a Lefty with an aversion to all authority to come out! Freedom is the embodiment of Anarchism. The act of fighting for freedom is Revolution. All revolutionaries in the act of revolution are therefore Anarchists!
But that is not the end of the story. I sometimes think that being a Left Libertarian may actually be a contradiction in terms. I have read papers on the subject which have made me think a little differently about what Liberalism actually means. That Left and Right are divergences towards state-control from either side of a Liberal centre-ground, that resembles Laissez-faire capitalism – commerce without government intervention – or “freedom to trade”. I am also very aware that the importance placed in Individual Freedom is often at the expense of the collective good. People re-branded in their own minds as consumers place their own choices and freedoms above all else – and this props up and encourages free market capitalism, begging the “devils-advocate” question: is capitalism the natural outcome of Anarchy? I’m not so sure about this, but there are many who think so.
Many Neo-liberalists, individualists, mutualists, economists and advocates of the free market consider themselves Anarchists to some degree – people such as Friedman, Murray Rothbard and even Ayn Rand believed in freedom of the individual and reduction or elimination of the state. Murray Rothbard maintains that Anarcho-Capitalism is the only true form of Anarchism. I’m not saying that I agree with this at all, or that I cannot conceive of an Anarchist society being fair and egalitarian – but it does flag up an important question. Would people be any safer from exploitation without the state? And now I feel like a Socialist again!
I have no answers to any of these questions, I’ll be the first to admit. But I am, at least, asking them!
One of the problems with the current resistance movements across the world (fighting corporate greed and for the rights of the 99%) is that by and large they aren’t asking these questions. They reject all prior political movements and “-isms” without proffering any alternatives. The lack of any solid theory behind the movement, and knowledge of prior political ideas, may be its undoing. If you reject Communism, Socialism, Corporatism, Free-Market Capitalism and Technocracy as systems that have failed, what do you accept? What, indeed, are you fighting for?
I can understand why the Occupy movement and Anonymous, and others, reject being pigeonholed politically – all these old political philosophies have their pitfalls and problems. But I do oppose the idea that a new system will emerge out of nowhere, with no reference to, or study of, systems and ideas that have come before. Without a deep historical understanding of these things, we may be doomed to repeat the mistakes of the past.
It really does feel like the movement is in its infancy in this respect. There is a naivety at its core which belies its noble intent. My chief concern is that while the movement is working out what it is, trying to answer crucial questions like: Can you have real Freedom and real Fairness? What replaces Capitalism if it falls? How will we fight all those that oppose us? While we are all still finding our feet, Technocracy may well sneak in and take over by the backdoor, supplanting democracy, and all our freedoms and hopes for fairness may be usurped. Social engineers and psychologists may be brought-in by the new management team, to deal with these voices of dissent, which are so detrimental to the national credit rating. People’s beliefs and opinions and rights are of no value when there are severe deficits to reduce. They do not compute. The chants from protesters may disappear as the subsequent crackdowns intensify, then triumph, and all that can then be heard, above the gentle hum of myriad machines, is a muffled whisper: “I am not a number”
Save the Internet!
The internet is the most powerful tool for true democracy humankind has ever possessed. It allows people to communicate, collaborate, mobilise, express themselves, publish their own work and undermine “the construct” in myriad unforeseen ways. The Internet has changed our planet and how we perceive it and it has changed what we believe is possible. International borders and social boundaries are rendered permeable. Information is now free. The floodgates are wide open! Would the Arab Spring Revolutions have happened so quickly (if at all) without social networks? Would the global Occupy Movement ever have got off the ground without Twitter and Livestream?
Corporations and governments see this as a threat to their system, as capitalism teeters in the balance, such “digital anarchy” can no longer be tolerated. Their fightback begins as the worst bill in internet history is about to become law.
PROTECT IP (S. 968)/SOPA (HR. 3261) creates the first system for Internet censorship – this bill has sweeping provisions that give the government and corporations leeway and legal cover for taking down sites “by accident,” mistakenly, or for NOT doing “enough” to protect the interests of Hollywood. These bills that are moving very quickly through Congress and can pass before Christmas aim to give the US government and corporations the ability to block sites over infringing links posted by their users and give ISPs the release to take any means to block peoples’ sites, including slowing down your connection. That’s right, some say this bill is a workaround to net neutrality and is bigger than net neutrality.
We need to fight to keep the internet free from top-down control. Fight for our right to freedom of speech. Fight for YouTube and WordPress and for WikiLeaks. Fight for Red Eye! 😉
If you wish to express your dismay at these draconian plans, the US congress is currently debating this bill… let them know we aint happy. Sign the Avaaz petition below
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Buxton’s BUG
“I tell people that BUG is like going round to a friend’s house and having him open up his laptop and show you interesting and amusing things he’s found or made, except not as tedious and shit as that sounds.” Adam Buxton
We went to see Adam Buxton present BUG last night at the Hyde Park Picture House in Leeds, with no real preconceptions whatsoever.
Well, maybe one. That it would be something akin to watching Rude Tube live, but with more interesting beats and without that curly-haired twat. Thankfully it was nothing of the sort.
Sitting in an art-house cinema to watch cutting-edge music videos was a novel enough experience in itself, but the focus of the evening was definitely the host, Adam Buxton, who was in fine comedic form, making the whole experience much more like live stand-up comedy than anything else I can think of.
He would be the first to admit he has been off the public radar for a few years – in “TV Jail” as he puts it! But he has still been very active in the digital realm, carving out his own surreal style via his Youtube channel. While incarcerated in obscurity, Buxton has embraced the viral and assimilated this culture into his comedy vignettes, which seem just as playful (but a lot less infantine) than his seminal work with former partner-in-crime, Joe Cornish. As a childhood fan of The Adam and Joe Show it’s really nice to see his comedy mature and develop as I do.
The whole evening had a really relaxed and intimate atmosphere – like you really were round his house, peering over his shoulder while he showed you his favourite online clips. My only criticism of the event was that it didn’t last quite long enough. I could easily have stayed into the small hours watching music videos with him. It felt like I was hanging out with an old mate of mine that I hadn’t seen for a few years, and it seemed like the rest of the audience felt the same.
The music videos he showed us were also of high quality. Alongside more obvious (but still great) choices like Roots Manuva’s Witness The Fitness and contributions by the legendary Cyriak, there were also some great videos that had passed me by, and I enjoyed this aspect as much as the comedy. If you get chance to go see one of these shows, do so!
Some of Adam Buxton’s new material:
Conspiracy Theorists are the Enemy of the Resistance
Agree with him or not Charlie Veitch has become a legend.
Sadly he is wrapping up his Love Police project
You can still watch all his previous work on his blog and youtube accounts
Some of it is hilarious, and most of it is bang on the money 😉
Protest Report: Occupy Westminster Bridge
I’m beginning to get a bit fucked off at the mainstream media in this country (and the rest of the world for that matter). The BBC may as well rename itself the Tory Propaganda Network. The Occupy movement in the USA is still going largely unreported, and now British protesters are getting equally ignored. I would have thought thousands of people illegally occupying Westminster Bridge, right under the noses of Parliament, would have been worthy of a news report. A small footnote at least. Especially when you consider the protesters are trying to save one of the UK’s most precious and important institutions (the NHS), which is in practically everyone’s interest. The news is being filtered. Fact. Why aren’t they reporting these protests?
As far as I am aware, Channel 4 news was the only program to feature proper coverage of this event – please feel free to correct me in the comments section if I am wrong (I hope I am). Their report claimed only 2000 thousand people were on the bridge during the “Block the Bridge, Block the Bill” occupation – it seemed at least treble that to me, but of course it is hard to judge these things from the ground. Suffice it say when we first arrived at the bridge it was full. From end to end. Admittedly, within an hour or so this number had dropped considerably.
Still, a significant number of people stayed all afternoon, and it was a great occasion by all accounts. The atmosphere was positive and defiant and the tactics playful and imaginative. A large assembly was held where anyone could speak out and get involved, and this was followed by comedians and live music on the bridge. Spirits were high for the whole event, and the police were wise enough to let it all happen without confrontation. More protests and occupations were planned for the near future and everyone was home in time for tea!
But what will come of all this? Will the protest go unheard? Is the NHS doomed to privatisation??
The effectiveness of protest politics is indeed questionable. I lost faith in it myself after the Anti War movement failed to stop thousands being killed in Iraq and Afghanistan. I know many others that felt the same. But the climate is changing. Millions of people are very angry. They are sick of austerity measures, banks and corporations calling the shots, the destruction of public services and the environment. They want real democracy, where people’s needs are put before corporate profits. From Tahir Square, to Wall Street, to Westminster Bridge – people are taking action, occupying public spaces and refusing to leave. A new people’s movement seems to be beginning… not that you’d have any idea from watching the news.
Can we do more to help save the NHS?
Channel 4 News bucks the trend
Urban Expo 1
Urban Exposition 1
Improvised music by Urban Exploration with Live visuals.
Burning the Bridge to Nowhere
Doug Stanhope does not give a fuck what you think. There’s no sugar with his pill. No lubricant with his dildo. Nothing is sacred during his acerbic assaults on the state of the modern world and all myths must be destroyed, however positive they may seem.
I think it goes without saying that his comedy is not for the easily offended, and if you consider porn and drugs to be society’s sickness you probably won’t like him. He may even make you physically ill. If this sounds like you, you can stop reading this now and save yourself an aneurysm.
But he isn’t provocative for the sake of it (a criticism that could easily be leveled at Frankie Boyle for example). There is a ruthless logic at work, to the point where anyone with a questioning intelligence will find it hard to disagree with him – even when he’s advocating fun with pedophiles, pissed and leering on stage, or vehemently blaming people that have children for climate change – the arguments are watertight. Even the most liberal-minded comedy-lovers may flinch, but his rants make sense, and expose us for our own hypocrisy as a society. And I, for one, find that shit hilarious.
No Refunds is my favourite. The first time I watched it I was pissing myself for hours afterwards. It’s anger and energy is infectious. It came as quite a shock, as I had previously only seen his rather downbeat contributions to Charlie Brooker’s Newswipe. Although they were intelligent and witty they didn’t quite prepare me for the genius of his on-stage performances, which have been compared (incorrectly in my view) to those of Bill Hicks. Anyway, don’t take my word for it, watch this shit:
I was ecstatic when I heard Doug had a new DVD out. But Burning the Bridge to Nowhere is an odd one. Filmed in Oslo with only 36 hours notice, you can see why both the time constraints and the language barrier may have contributed to the slightly stilted delivery of his new material. Maybe it was the lack of alcohol or maybe he was just pissed off – his comic timing doesn’t seem to be up to his usual standard. I don’t want to seem overly-critical though as some of it is really good (parts of it are up there with No Refunds) and he has set himself a very high bar with previous shows. What I would say, is that if you like Stanhope, watch it, and if you don’t yet, watch the others first – you’ll be more forgiving of the bits of it that don’t work quite so well.
MisinforMation Review
The first time I watched this DVD I was pretty stoned. One of my favourite pastimes is to put on a film, one with great pictures and no dialogue such as Koyaanisqatsi, or some old Buster Keaton movies, skin up a large one, and provide my own soundtrack to the visuals out of my sizable collection of electronic music. As the psychotropic compound hits the cannabinoid receptors in the back of my brain and takes hold, pictures and sounds become one, rhythm becomes serendipitous, and my senses and imagination work together to re-contextualise this information in any way they see fit.
Intracellular signal transduction pathways are activated! I drift off into my own reverie, the images become blurred, the sound becomes muffled, and I pass out on my bean-bag, fully satisfied by this waking dream. With MisinforMation it feels like the Baron Mordant has done much the same thing, except he has managed to stay conscious long enough to write some original music, bespoke for the occasion.
I decided to watch the DVD again, this time with a clear head. The box doesn’t give you much information to be misguided by, though I’ve now worked out that the DVD is a collaboration between the BFI and Mordant Music, edited and re-scored by the latter, using the former’s access to the archives of the Central Office of Information – the UK government’s marketing and communications agency, and producer of public information films.
Pressing play you are greeted with a stark looking menu with the cryptic option to view “Spools” or to “Spore All” – I chose the latter. You are flung head-first into a Hitchcockian nightmare-vision of invading magpies, which quickly reveals itself to be a crime prevention commercial, extolling the virtues of Neighbourhood Watch. The sound is synthetic and ominous, the mood disquieting. This sets the tone if not the main themes of MisinforMation from the outset, a work that is as interested in the mechanics and language of film, as it is with the content. Indeed, the frequent use of test cards, countdowns and grainy damaged reels, conveys a love for the textural quality of the medium, and how that can effect the mood and feel of the images, as much as the themes and narratives displayed therein.
The Baron Mordant’s score emphasises this devil in the ambiguous detail. It is his music which becomes the constant thread, tying disparate pieces together. As many of the visual sources are from the 1970s and 80s, the nods to Vangelis and Eno seem highly appropriate – but it isn’t another retro pastiche. The sounds are pulled apart and elongated to form textures and drones. While at times it is Hauntological in the manner of Ghost Box or Boards of Canada, often the synths and effects are more akin to Autechre or Merzbow, noise and ambience are intense and lift the images to another plane. All works well until the Baron attempts a song – a somewhat naive blip on an otherwise flawless electronic score.
All the short films collated here are highly watchable, and interesting historical objects in their own right – but in MisinforMation they are re-purposed, obfuscated and altered – the new interpretation provided by sound alone. They are shown in a new light and this has a big impact on their semantic purpose. This is the main concept behind the project – that with only slight deviations from the original context, the meaning can be completely transformed. Sometimes this works better than others.
A Dark Social Template is particularly effective. The new soundtrack casts a bleak re-imagining of our past’s visions for the future, playing on our informed position of knowing exactly how certain ideas would end up failing. The concrete mazes and dungeons of 1960s new builds are underscored by itchy, nervous, analogue bleeps and tones, highlighting the inhumanity of such places – while the original film, blissfully unaware of their future failure, tries to persuade poor sods to up-sticks and move there. Animated sections in the film are rendered surreal, with human behaviour made to look alien and viral, cities emerge like infected wounds on the earth’s skin. A beat-less disco makes the revelers look like absurd maniacs and re-interprets an OAP’s conga-line as some bizarre satanic ritual. The only part of this piece that didn’t capture my imagination was watching the presenters talking without the original audio. It was as if I had turned the sound down on my own TV, and this made it feel a bit amateurish when compared with the perfect wedding of music to picture in the other scenes. This is executed better, later on, by replacing the original voice with another – a much more interesting use of such footage, and more befitting of the title.
Attenuated Shadows is another highlight. This short film about solvent abuse would have been profoundly disturbing without the new score, but the music here goes really well indeed – mournful chords and woozy soundscapes add melancholy to the shock value. The footage looks very real, and yet we’re told at the end of the documentary that the children depicted doing glue, did not inhale. This seems hard to believe – were the COI covering their arses for fear of being labeled exploitative? Was the original misinforming us, or has Mordant Music’s emotive scoring misinformed us into believing the illusion? Maybe we’ll never know. This is MISinformation after all.
Urban nightmares are then replaced by grainy pictures of Stone Henge and picture-book illustrations of early man. Ridyll was the weakest section for me. It didn’t feel as though it had been re-purposed as much as the others, and it did drag a little. However, it does benefit from being an interlude, and in contrast with the other more intense offerings, it paints a quaint picture of Britain’s ancient history. And the music is pretty good too, featuring a Moog wig-out in the style of Bo Hansson.
Elsewhere on the DVD we see the famous AIDS advert (from the 80s) in reverse, a suburban domestic version of Tron where nature fights back, a documentary on Ink Jet technology repurposed to reveal something dark in our nature, strange footage of nematode worms in a lab, and many other more abstract pieces, where music and visual mesh perfectly with no apparent agenda or message to be conveyed. The last film is pure audio-visual pleasure, as beautiful images of the sea and coastline are immaculately scored – the sound and picture relationship here is more precise than anywhere else in the work, with beautiful rhythmic editing and a sense of humour to boot.
In conclusion then, I simply can’t recommend this DVD enough – it is a work of art with very few aspects in need of criticism. It is both thought-provoking, emotive and intelligently complied. What I would say though, is that it is best viewed instinctively, on psychotropics, so your own imagination becomes part of the work, and you get lost in the minutae and subtle inter-relationships that jump-start old memories and lateral ideas. You get lost in it happily. Watched in a sober, more linear fashion, you end up trying to second-guess the creator’s motivations, and I don’t think you get quite as much out of it that way.
Best served with 3.5 grams of “Blue Cheese”.
You can buy the DVD from Boomkat
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