A Manifesto for Artistic Pessimism

By Julian Langer

 

Romanian nihilist and pessimist philosopher Emil Cioran once wrote “only optimists commit suicide, optimists who no longer succeed at being optimists” and that “it is not worth the bother of killing yourself, since you always kill yourself too late”.

 

In these short collection of words, this tragic thinker – who wrote books such as On The Heights of Despair and A Short History of Decay – speaks to something at the very core of life, especially within this culture – the need for sincere, honest and authentic pessimism. He wrote that “Chaos is rejecting all you have learned, chaos is being yourself” and, following from this, it is your-self I wish to appeal to in the words I present here.

 

“One must have chaos within to give birth to a dancing star” Nietzsche

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The fact that the vast majority of films present a near totalising fatalistic optimism is abundantly obvious. Most films end with the desired conclusion to the narrative: with the hero surviving by the skin of their teeth; or the two beautiful people find love in a beautifully romantic setting; or the rebels narrowly avoiding Darth Vader’s clutches and obtaining the Death Star plans, whatever other example you care for.

 

And of course they do! Happy endings sell. When it is all said and done, people want things to “go right” and for things to fit within the desires of this cultures ideological narratives.

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Situationist philosopher Guy Debord asked about film:

Do we simply watch the images rolling past, become happy or sad at the whim of the filmmakers, only to return to our regular lives without any effect on how we view the world and how we could possibly change it?”

In this question Debord raises the issue of the film watcher being a passive observer, absorbing the narratives of filmmakers, in such a way that it maintains everyday normality.

 

Through the medium of film, in most cases, the viewer passively consumes the notion that things do not need to change, because things will work out happily in the end. Batman, Frodo Baggins or Neo will come and defeat the Big-Bad, or the T-Rex and Raptors will kill the Indominus Rex.

 

Two questions come to mind though.

 

First, are things inevitably going to turn out for the best, or is that just an idea that enables individuals to participate in this culture without any thoughts regarding consequences?

 

Second, what is the purpose of art/film and are they supposed to affect the viewer in any particular way?

 

Starting with the second question, Oscar Wilde, in response to moral critics of his age, promoted “art for arts sake” and criticised the “monstrous worship of facts” within art movements. Perhaps Wilde is right and that art need not serve any moral purpose and should be done for its own sake.

 

This doesn’t mean art cannot hold egoistic instrumental value. In the philosophy of art, aesthetic cognitivists argue that art, particularly painful art, is valuable as a means of empowering individuals.

 

Perhaps, amorally, mediums such as film can serve as an instrumental means of empowering individuals around painful matters, like the idea that things will not turn out for the best: pessimism.

 

Antonin Artaud developed an approach to theatre called theatre of cruelty, through which theatre “wakes us up. Nerves and heart,” and through which we experience, “immediate violent action,” that “inspires us with the fiery magnetism of its images and acts upon us like a spiritual therapeutics whose touch can never be forgotten”. Perhaps film can serve as an immediate violent action which inspires a fiery magnetism, effecting the viewer spiritually and therapeutically.

 

Regarding the question of whether or not things are inevitably going to turn out for the best – whether optimism holds true – we should consider this in multiple senses. Existentialist, nihilist and absurdist philosophers, like Nietzsche or Camus, argue that ultimately everything ends in death and that all action is ultimately futile: a pessimist’s conclusion, though they all generally argue that there is personal/subjective/egoistic value in actions and the pursuit of meaning.

 

We could also look at the question from a non-philosophical gaze, looking at the environmental and socio-political situation where all paths seemingly lead to ruin: when the sixth mass extinction event and climate chaos pose significant existential threats to humanity and this culture, as well as the biosphere; where nuclear war and World War 3 become ever more possible situations. All of which paints a particularly bleak future, whether you value this culture or the biosphere.

 

I don’t know about you reading this, but pessimism feels like the more honest, sincere and authentic outlook.

 

Perhaps, in an egoistic aesthetic cognitivist sense, a pessimist cinema of cruelty would be valuable, as a means of empowering individuals to respond to, what postmodernist philosopher Baudrillard called the desert of the real – a real that is becoming increasingly bleak with every passing day.

 

Disaster and apocalyptic/post-apocalyptic films (such as The Matrix, Book of Eli, Elysium, 2012, Day After Tomorrow, Children of Men, War of the Worlds, I Am Legend, Armageddon, the Terminator series and other similar popular titles) all end on a hopeful optimistic note, where ruin is averted.

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Films like V for Vendetta and the Hunger Games series, which take a generally leftist-revolutionary narrative, generally conclude with mass people’s movements being able to overpower the Big-Bad and winning out – perpetuating the idea that hopeful optimistic endings are really viable at this point in time.

 

Even films like Avatar and Ferngully: The Last Rainforest, which take somewhat of an anti-humanist, anti-civ, radical-environmentalist narrative, end with things “working out”.

 

Perhaps radical film projects should draw from films like Apocalypto, The Road, Escape From L.A., 12 Monkeys, Knowing, The Time Machine, Survivalist, Into The Forest and TV series like Black Mirror, and adopt a pessimist cinema of cruelty approach. Maybe this can serve as a means of empowerment through discomfort, as the desert of the real becomes bleaker and bleaker.

 

I missed the opportunity to see the latest edition to the new Planet of the Apes saga, but look forward to being able to watch it on DVD or stream it online, as it is an interesting series. I am also personally looking forward to seeing the new Bladerunner film (and hoping it isn’t going to be another nostalgia porn let down). Both of these films hold the potential to be honest reflections of this culture and our current situation.

 

We’ll wait and see.

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Images courtesy of: http://www.theimaginativeconservative.org/2014/09/v-vendetta-graphic-novel-best.html and https://www.goodreads.com/author/show/15819.Guy_Debord and http://www.learnliberty.org/blog/was-nietzsche-libertarian/ and http://planetoftheapes.wikia.com/wiki/Planet_of_the_Apes_Wiki

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What do we do in the Middle East? An alternative view

Let me paint a very simple picture of recent history. In the Middle East, the West backed the wrong horse, and has paid the price ever since.

 

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Backing this particular Arabian stallion has, however had its advantages. The House of Saud have been providing petroleum for our cars, central heating systems and aeroplanes since the 1930s.

The price for this has been our reticence – to the point of complicity – regarding the regime’s human rights abuses, a silence which, through decades of ever-increasing dependency on oil, has only grown louder.

A few more churns on this sickening cycle have been notched in recent days. First, a High Court ruling that arms sales to the Saudis – arms which are pouring over hospitals, water plants and schools in Yemen – are lawful (useful, as BAE finalises the transferral of the last of 27 cruise fighter jets to the Arabian Peninsula).

Days later, Home Sec Amber Rudd withheld the classification of a document detailing where funding for domestic terrorism was coming from. Last year, another secret report was leaked, highlighting the link between the Saudis and the instigators of the attack on the World Trade Centre in New York, the provocation for a ‘War on Terror’ which shows no sign of ending.

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More still, in her revealing new book Oil and the Western Economic Crisis, Helen Thompson reveals how a drastic change in the price of ‘black gold’ precipitated the fall of the Global Economy in 2008. This completes the outline of the world’s principle power relation: one in which Western powers, drunk on the tantalising fumes of petroleum, sacrificed their liberty for one more hit from a dodgy dealer.

Now, like any addict, we have reached breaking point. Our continual financial and military aid for the Kingdom must now be explained to a Western populace with increasingly hostile views towards ‘Islamism’.  This caricature of Islamic culture – conservative, sandy and intolerant of democracy – appears in part to stem from our legitimisation of the Saudis.

We must find another horse in this increasingly bloody and complex race. The question is: which?

This is a question which Mark Levine’s 2008 book Heavy Metal Islam attempts to answer.

Heavy Metal Islam. Seems like an oxymoron, right? Yet there is something inherently radical about an oxymoron. It burns through your imagination, producing a sense of something unsettlingly new. For an instant, an image pierces your retina; collapses on to your psyche, fades in to familiarity. The light becomes dark; the dead are enlivened; what was false now appears as true.

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Levine’s book rebukes the kind of cultural myopia which leads Westerners like me to view Heavy Metal Islam as contradictory. Iraqi guerrilla filmmaker Oday Rasheed politely illuminates this ignorance, telling Levine ‘I know all your artists and cultural figures – Jimi Hendrix, John Coltrane, F Scott Fitzgerald. But I also know my culture – Oum Kalthoum, Farid al-Atrash, and Adonis. How many (Westerners) even want to know my culture, let alone take the time to do so?’

It isn’t simply the traditional culture of Middle Eastern society which fails to register in Western minds, however; Heavy Metal Islam is an account of Levine’s five year exploration of music genres with indelible roots in Western culture: Islamic rap, metal and rock.

Journeying across six different Islamic nations, Levine finds a musical movement of staggering diversity. Yet a common thread unites the book’s protagonists: fear of persecution from the authorities.

In Egypt, we find a scene still smarting in paranoia from the arrests of 100 metal heads in 1997 on charges of Satanism. To conservative regimes, metal’s aesthetic is provocative enough to warrant surveillance and repression, even if no explicit political message comes with it. The Egyptian chapter ends with one of the scenes leading musicians – known to the reader as ‘Marz’ – demanding his full name be printed: an act, in context, of defiant heroism.

Yet it highlights how limited the scope is for these musicians to resist authority. Readers searching for a perfect X Factor ending will find Levine’s book disarmingly inconclusive. Many musicians offer only veiled critiques of their leaders. Many have given up even trying.

Existence, however, can often be politically potent in and of itself. For Levine these scenes matter beyond their artistic output, because they symbolise an interpretation of Islam that is ‘far more radical than (that of) the supposed radicals of al-Qa’eda, Hamas, or Hezbollah, who are distinctly reactionary in their reliance on violence and conservatively grounded religious and political imaginations’.

These are the cultural terrorists, hidden in the recesses of their society, and evoking the kind of latent fear which only those in the shadows truly can. When considering who to throw our lot in with, we can often look with immediacy to the conventional corridors of power. In doing so, we fail to spot the dark horse in the outside lane.

The music scene in Palestine is perhaps the most chaotic, restricted yet fascinating that Levine explores. Rap groups like Ramallah Underground and Palestine Rapperz, unable to develop internally, rely on the support of foreign fans to survive and flourish.

What if those of us who lament Western cultural hegemony consciously attempted to undermine it? What if we gave the money we (typically) aren’t giving our local musicians to those in countries such as Egypt and Palestine? What if we began seeking political solutions not through parliaments and commissions, but through people, through art?

Heavy Metal Islam is an eye-opening book. For it to hold power, however, it should only be our introduction.

Pictures from: 

http://www.worldatlas.com/webimage/flags/countrys/mideast/saudiarb.htm

http://www.telegraph.co.uk/news/0/who-is-amber-rudd-a-profile-of-britains-new-home-secretary/

https://www.amazon.com/Heavy-Metal-Islam-Resistance-Struggle/dp/B0083LJ7WK

https://insideislam.wisc.edu/tag/heavy-metal-islam/

For more, check out this article on the metal scene from this year…

http://thequietus.com/articles/22565-heavy-metal-in-the-middle-east-al-namrood-melechesh-akvan-blaakyum-nader-sadek

And Mark Levine’s companion playlist to the book, ‘Flowers in the Desert’.

 

 

Eons detected at Cern

By Matthew Higgins

Eons were thought to exist for centuries, but now, Scientists at Cern appear to have finally ‘cracked’ the long sought after particle, otherwise known as the Time Boson.
Eons are believed to play a vital role in a process known as Quantum Time Wasting- a process by which time disappears when observed at about room temperature.
The sonic instagram from this experiment confirms the alleged existence of this particle.
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We interviewed one of the scientists from the LHC to get an idea of what any of this means…

Scientist: “Similar to quarks in nuclide hadrons, eons themselves are composed of smaller epochs.”

“Ahh, sort of like how a pair of M&Ms crushed together could be thought of as piles of miniature M&M’s.”

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Scientist: “Precisely. By colliding late antiquity with Post-modernism, clouds of positively charged imaginons and 1/2 spun mysterons start to emerge – as seen in this free-associative image.”

“So what does this mean for science, and for young people, now that this result will most likely effect them?”

Scientist: “Well, let’s not get too carried away. The net effect will most likely be a superposition of both useful and relatively non-useful for ordinary folk. It’s hard to
pin down just how much spin these particles are really getting. It may take a couple more eons for us to fully work this one out…”

Many scientists would say that we’ve always been aware of what time is, even before science was invented. But furthermore, scientists are now proposing a brand new Quantum Tense, which operates outside the standard liguistical tenses – past, present, and future – to help understand what these astonishing claims would potentially mean.

Here is what Michio Kaku had to say on this matter…

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Michio Kaku: “If I were trying to describe an event which already hasn’t happened yet, which is something that can only be described on the subatomic level, then this tense will become already necessary for transcribing events in the lab.”

“So is there a way we can start learning this new Quantum
tense in order to understand what it is that you’re saying?”

Michio Kaku: “Not until you haven’t done so which may already took practise.”

At this point, Michio Kaku spontaneously transcended physical matter and became a pure light being in order to represent a second image of the experiment –

 

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Thanks to these efforts at Cern, the exciting world of obscure frontpage literature which noone really understands is continuing to accelerate faster than ever before. And with the use of new tenses, who knows what might already hasn’t happened yet around the corner?
What existing new discoveries might unfold in this strange world of quantum mechanics?
It may only take a few more eons, for us to find out…

Pictures courtesy of:

https://home.cern/about/experiments

I.guim.co.uk

http://www.forksandfolly.co.uk

http://www.ytiimg.com

 

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The act of modern viewing: Love Island Reviewed

Is Love Island Art? Is Reality a Dream? Will robots overthrow us and become our never ending slave masters? Some questions may forever be left to the mysterious ethers of time.

Averaging 2.8 million viewers, ITV’s cultural tour de force has swung in to the jungle of our collective consciousness like a waxed baboon. The appeal for many -behind the bleached teeth, chromatic tan lines and Victoria’s Secret bikinis – lies in the show’s naked humanity.

Love Island explores love – that prickly vein-bound substance – in an uncompromising, sadistic fashion. Islanders must couple up, successfully navigating lie-detector tests and spontaneous couple-splitting, or face eviction from the show. The more sincere; heart-struck; complete their love appears, the better the chance to remain.

That this is all filmed on a zillion peering cameras, or the prize for winning is fifty thousand pounds, or prolonging your stay on the Island can guarantee an Instagram following worth potentially far more, are trivialities of little consequence. In fact, it only adds to the theatricality. Did he write that poem from the heart or for his wallet?  Did she say I love you to his eyes or for the camera?

The show’s seduction transcends the televised, however. Social media allows us to scan the online archives of each Islander,  plunging to greater depths of love, hatred or sympathy with each character than a one hour show can typically afford.

Perversely, Instagram, Snapchat, Facebook etc. endow these narcissistic castaways with relatable authenticity.

What Love Island encourages is the act of modern viewing: to passively consume from our Japanese flat-screens, while actively engaging with the show from our palms. Harmonious, horrifying synchronicity.

The show’s success has only added to the baffling and undecipherable times in which we live. A generation has become enamoured to a show about hyper-real sex chimps fumbling beautifully around an island; yet this is the generation who, mere months ago, had supposedly sworn allegiance to a 68-year old allotment dwelling socialist.

So are we all now Corbynistas, or are we all Islanders? Can you be both? Perhaps the only way to find out would be to place the Labour leader on the next series of the show and see how his renationalisation programmes and anti-austerity message go down poolside.

Latent fantasies aside, however; the ascension of Corbyn does mirror Love Island in each’s wrestling with the authentic. Amidst the bullshit circus of parliamentary politics, the Labour leader – like his transatlantic counterpart Bernie Sanders – appears as a man of unquestionable principle.

Social media has, once more, been foundational in this (Will Davies’ piece here is worth a read). It has allowed populist politicians a chance to bypass the mainstream’s caricatures, forging out new identities from the limitless archives of the World Wide Web.

If our age is to be defined, it is one of a click-addled populace baiting themselves in to a technological trap. Where this trap leads – and what its effect on us may be – remains to be seen. Our present moment, however, is defined by it: from the political tempest which has given us a tweeting tantrum of a President, to the idealised island-dwellers who we choose to spend our evenings, virtually speaking, with.

Perhaps now would be a good time to close your laptops.

The Dystopian Utopia: Star Trek Discovery Previewed

STAR TREK DISCOVERY’S SHOWRUNNER RECENTLY ANNOUNCED IT WOULD FEATURE THE FIRST INTERNAL CONFLICTS. HOWEVER BY SAYING THIS, THEY’VE IGNORED THE MOST RADICAL ELEMENTS OF THE SHOW’S HISTORY.

By Hayden Cooper

Star Trek for many is the quintessential Science Fiction. It invented (or popularised) many of the things that now are staples of the genre; teleporters, shielding, warp speed, laser based weapons.
It is also the quintessential utopia: a world without pursuit of capital, with racial harmony, that can defeat any evil.
Utopianism fills a funny place within Science Fiction. Traditionally it has been argued that Science Fiction is merely a subset of utopianism. The goliaths of Sci-Fi theory have been extremely hostile to dystopian works being included, most notably 1984 and Brave New World.

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Frederick Jameson

Jameson (Archaeologies of the Future proving a seminal text in the field) describes trends towards utopianism as running parallel to dialogues about politics. Jameson sees Sci Fi as a political movement in and of itself, built upon the desire to create a better world by drawing parallels with our own (and embellishing them).
However he sees it as a failed movement, much as how he saw communism. It should be noted he is specifically referring to the academic concept of “communism” that was popular in discourse during the early years of the soviet union, rather than communism as a political philosophy as we understand it today.
Anti-communism, much like anti-utopianism is worse than the movements they critique. He argues that we should aim for anti-anti-utopianism and anti-anti-communism. In practical terms, we should use our arguments with liberals to forge our own ideology.
Star Trek is inherently liberal. Fans of the show, myself included, preach of its radicality; but this simply isn’t the case. The show talks about a world without money, with racial harmony. Behind the scenes it had the first ever interacial kiss on screen; it had nonbinary characters; diversity was always the aim.
These radical aims are what made the show famous. Spock was placed in the show as a commentary on racial acceptance: he became so popular some cite the character as the reason for the renewal of the second season.
But Star Trek was never radical; merely it posed itself as radical.

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New Designs for the Klingons have already left fans questioning the show’s direction

Behind the scenes PoC actors were forced out of projects (such as voicing their characters on the animated show). On screen most captains are white, militarist, men. Queer storylines are almost non existent, and those that exist are either executed poorly or done in sweeps week for ratings.
It is this liberalism that made the show possible in the world of capitalist television. Producers could exploit radicality for its marketability, whilst still keeping it safe.
Bringing this back to Jameson, Star Trek was highly dialectical due to how the show was run. It was based upon the works of Roddenbury (utopian/communist); shaped by executives (anti-utopian/communist); and often featured radical show writers arguing against the system that created the show (anti-anti-utopian/communist).
A great example of this is several episodes of Deep Space Nine where Sisko writes the story of DSP in the 1950s. As a black Sci Fi author he is denied credit, and he is told to rewrite his story to exclude a black main character. It is clearly a jibe at the television industry.

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So what about where Star Trek didn’t fit this narrative? Plot lines seen on Deep Space Nine and later seasons of Enterprise were as close to radical as the show ever got. Harsh critiques of the Federations inherent militarism were shown with internal nationalist uprisings in the form of the Marquis; repeated war crimes were committed by the Federation (including genocide) and an unofficial secret police was revealed in the form of Section 31.
This is internal conflict in its highest form. Yet Spock and Picard proved more marketable. They appeal to liberals by preaching nonviolence; they appeal to leftists by espousing socialist rhetoric; but most of all they appeal to marketing teams for having a wide base of support. Sisko is an angry war criminal, and not least of all played by a black man. By whitewashing Star Trek as a show without conflict, the new showrunners have romanticised their potential for radicality whilst also accepting the (forced) liberal reputation and appeal of the show.

Images from: http://redshirtsalwaysdie.com/2017/05/05/why-is-cbs-hiding-star-trek-discovery-information/ and http://www.holbergprisen.no/en/fredric-r-jameson.html and http://www.startrek.com/database_article/star-trek-deep-space-nine-synopsis

Cyst and Disease: Zommunism part 2

Part 1: https://radicalartreview.com/2017/06/29/the-deceased-of-living/

By Matthew Higgins
Slower than it took the actual zombies to walk, a compromised version of Zommunism in its coopted, sell-out neo-liberal attire began to take form.

First, politically correct laws made zombified access to shops and train carriages a part of every day life. This posed a significant threat to the elderly and depressed, who in apathy and decrepitude could barely outrun the deluge of lagging, mundane corpses.
Some saw the economic sense of turning themselves into zombies and just went along with the ride after university had ended. Nightmare became nuisance, convictions were relegated to the tedium of anxious concerns, as zombified bailiffs worked to evict jobless tenants resigned to the fait accompli of economic progress under the arbitrary dress code of zombification.
The Zombie dilemma had been yet another slow-paced existential threat to middle class life, far less substantial than anything as real or immediate as hand-to-mouth shotgun survivalism. Ray Mears continued to be televised.
The media-industrial complex would accumulate even greater amounts of wealth from this, as ‘incense schticks’ saturated the propoganda market on people’s blood spattered doorsteps from the latest Amazon delivery agents.

Tabloids capitalised on their front pages with the clownish ineptitude, of ‘useless’ politicians flailing under the beauracratic arms of corrupt corporate lobbyists, who failed to prevent – and seemed almost intent on evoking – the gradual zombification of the working unemployed.

Messages that could be relayed in basic sound bites, were simple enough for zombies accustomed to repeating the word ‘brains’ over and over again to memorise.

Subsequently, they appeared increasingly electable against the so-called “muppets in charge” who seemed powerless to prevent these zombies taking people’s jobs and limbs away.

In addition, morticians had done great work to maximise the presentability of these undead. Zombies did not age since they were already deceased, they only needed to be manicured once and that was all. They had the waxy appearance of photo-shopped skin that made them appear magazine-like, more human, more relatable, to the diminishing hordes of the traditional unemployed.

Perhaps these were the Zommunist revolutionaries afterall! Just more modest and pleasing to the eye than previously envisioned, with sound bites exchanged for flesh bites and so on.
Besides, the term zombie was now decidedly offensive and incorrect; these were the ‘deceased of living’.

The deceased of living would provide great arm gestures during their speeches, somewhat similar to a kind of double Nazi salute, but without the historical baggage. And they were always themselves: soulless creatures compelled beyond the grave to devour every ounce of living flesh in search of no end – offering them an honest outsider appeal above the standard of ordinary politicians.
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But the Zombies were so well-groomed, that no one could quite tell who was a politician and who was a zombie anymore; this did not much matter, since society was past that.
The deceased of living continued to draw significant gains in politics, media, and feasting on undesirable specimen; such as the elderly, the unemployed, those who attended marches, homeless people, mad people, and youths who risked surpassing the limits of their curfew.
Soon, with huge swathes of the electorate demanding more brains, the first Zombie minister was elected to the house of commons, and soon after, several more MPs had been infected, until enough seats were evacuated to give a ruling majority to the Zommunist Centrist Right-Left party.
‘Right. Left. Right. Left.’
The tidal wave of progress seemed ineluctable for the eyes of industrialists, closer than ever before to the prospect of humans visiting Mars – to hide in terror – which had fuelled the capitalist
imagination since its very inception.
To this day, Mars remains a lifeless little red orb, caked in the scorched blood of desert dwelling cadavers, who shuffle aimlessly forth without intention or logic, other than for ‘brains’, which they
devour fully in their grasp with their incapacity to find better means for them.
‘More. Brains. Brains. More!’
And no one can determine whether these are real astronauts at all, or zombie pioneers. Not one individual has the power, or the belief, to assume their Hollywood birth rights and claim the zombie apocalypse as their own.
There is an idle decay, shuffling along in a twitching pandemic without cause or enthusiasm.
Businessmen are anxiously observed on rare summer days off work by those who fear the spread
of infection.
Proverbial shotguns (art, music, theatre) are seated behind special permits;
As the rights of human beings are overlooked and ignored, to squat wherever they please, to find a place where the zombies can never reach them…
There seems to be a hidden truth appeal in these Hollywood zom-coms.
Like unconscious documentaries, for truths rendered significantly more bareable under a curtain of fiction, something to perversely aspire to in a mood of alienation and despair, to view the world as it
has been for some time.
A zombieland to either fight or succumb to in our ignorance.
A utopia that hovers just beyond reach, beyond the present way of seeing things, beyond the graves we dig for ourselves.
Pictures from: http://www.bbc.co.uk/news/uk-wales-politics-31040301 and https://marcelopellegrini.wordpress.com/2013/12/05/hundreds-of-zombies-take-control-of-london/

Cultural Terrorism: Poetic Potential for Subversion

By Julian Langer

“Quotations are useful in periods of ignorance or obscurantist beliefs” Guy Debord

In The Revolution of Everyday Life, Raoul Vaneigem stated that human beings are in a state of creativity 24 hours a day, but freedom of choice has been lost; that spontaneity is the true mode of creativity, and true artists of the future will create new situations. “Poetry” claims Vaneigem, “is an act which engenders new realities; it is the fulfilment of radical theory, the revolutionary act par excellence”.

The loss of freedom of choice within neo-liberal capitalist civilisation is abundantly obvious. Political choices are reduced to 1 party or the other, while the Ed Sheeran effect dominates the market of available music: songs that simply repeat the same sound of the last hit, as a mass-produced vacuum-packed injection of notes, drums and vocals.

Does the Leftist/revolutionary movement Vaneigem was involved in, the Situationist Internationalists, hold any relevance for our contemporary post-modern British society (whatever that may mean)?

Situationism was a huge influence on the early punk milieu in the late 1970s in Britain, with its rejection of the boredoms and restrictions of the age. But punk too has largely been reduced to a mass production line of commodified unfashion, of songs that largely sound exactly the same.

The Situationists also influenced the events that took place in 1968 Paris. Volatile civil unrest led to a legislative election, seeing the Gaulist UDR party taking power, with the leftist parties failing due to their passivity. The British anarchist group, The Angry Brigade, inspired by the Situationists, launched a bombing campaign between 1970 and 1972 that targeted banks, Tory party MPs and embassies, as acts of property damage (though one person was slightly injured during the campaign).

But we are no longer living in the late 1960s or early 1970s, nor are we living in France in 1799. As I type this I am in the English countryside, in 2017, and I am assuming that most of the people reading this piece will also be living in Britain in the late 2010s.

I am going to assume that you, like me, are living in a near totally different world to those times: one with far more surveillance; technology and cultural conditioning; more effective weaponry for the police and army and less for the revolutionaries. A vastly different socio-economic-political landscape is in place, dominated by the neo-liberal postmodern cultural narrative for as long as many of the people reading this will be able to remember.

So is this(/the) Leftist/revolutionary project really relevant or applicable to our current historical conditions?

We’ve seen the failures of the Occupy movement; Anonymous; Arab Spring; of the Sanders and Corbyn revolutions and others over recent years. We know the history of Communist dictatorships and the genocides and ecocides they commit; so maybe it isn’t a project for contemporary radicals.

But maybe we can learn from it.

One of main methods of the Situationist project is the Dérive. In Theory of the Dérive, Guy Debord explained the Dérive as a technique of rapid passages through varied ambiences, involving playful-constructive behaviour and awareness of psychogeographical effects.

This involves, for the Situationists, a point of departure from the spatial field (part of the Unitary Urbanist Project – the project before their focus turned to what Debord called Society of the Spectacle, his seminal text). This can deploy détournement – subversive Situationist pranks – a practice that developed into the now well Established practice of culture jamming. Examples of this which can be considered Dérive techniques are parkour, flash mobs and free hugs actions.

After the Manchester terrorist attack, Backtash Noori’s free hugs action struck a particularly tangible chord with many of us.

Could this be because, as we become culturally and psychically immersed in what sociologist and postmodern philosopher Baudrillard termed the simulation of hyper-reality, with the news becoming more and more like green screen films we long for something as tangible and immediate as the touch of another’s embrace?

Perhaps it is a romantic notion, but equally perhaps not! Maybe, the immediate, the intimate, is our best means as radicals of creative approach and political attack.

Post-left anarchist and post-Situationist philosopher Peter Lamborn Wilson, also known as Hakim Bey, wrote about a type of project he call the Immediatist project, in his 1994 book by Immediatism.

Hakim_Bey_painted_portrait_DDC_3021

This is, as the name suggest, an art project based on the creation of immediate situations and T.A.Z.s (Temporary Autonomous Zones) for radicals to subvert our contemporary cultural narratives and dogmas. In his book The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism, Wilson describes a type of activity he later describes as an Immediatist activity as (surprise surprise) Poetic Terrorism (shocking I know). Wilson describes Poetic Terrorism as –

“WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they’re the heir to an enormous, useless & amazing fortune–say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. Later they will come to realize that for a few moments they believed in something extraordinary, & will perhaps be driven as a result to seek out some more intense mode of existence.”

and states that –

“The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror– powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst–no matter whether the PT is aimed at one person or many, no matter whether it is “signed” or anonymous, if it does not change someone’s life (aside from the artist) it fails.”

Perhaps Immediatism and Poetic Terrorism could be a potential means of radical art projects challenging this culture. And perhaps not.

Noori’s simple acts though, admittedly through the medium of a cultural spectacle, touched many of us who only encountered his action through screens. I can only imagine how it would’ve impacted those he created an immediate affect in. Within the hyper-real spectacle/simulation, and given the failings of the Leftist/revolutionary project, this may be a tangible means radical action through art.

“Only the dead are truly smart, truly cool. Nothing touches them. While I live, however, I side with bumbling suffering crooked life, with anger rather than boredom, with sweet lust, hunger & carelessness…against the icy avant-guard & its fashionable premonitions of the sepulcher. ”
― Hakim Bey

I personally play various Dérive games whenever possible and write about these types of Situationist and post-Situationist mediums, as a means of psychic rewilding, in my book Feral Consciousness, and believe they hold immense value as a means of disrupting the everyday normality of this culture. So I invite you to play and create, should you wish to try.

“If love is under siege, it is because it threatens the very essence of commercial civilization. Everything is designed to make us forget that love is our most vivid manifestation and the most common power of life that is in us. Shouldn’t we wonder how the lights that glimmer in the eye can blow a fuse for a time, even as barriers of oppression break and jam our passions? Yet despite a life stunted and distorted by mediated Spectacle, nothing has ever managed to strip love of its primal force. Although the heart’s music fails to overwhelm the cacophony of profit efficiency, bit by bit it composes our destinies, according to tones, chords, and dissonances which render us happy if only we learn to harmonize the scattered notes that string emotions together.” Raoul Vaneigem

Images from: https://uk.pinterest.com/pin/225391156321974097/ and
http://modernslavery.calpress.org/?tag=hakim-bey