Radical media, politics and culture.


Dr Wooo writes:

"Naomi Klein, No Logo, London: Flamingo, 2001 (pb. £8.99).

Noreena Hertz, The Silent Takeover: Global Capitalism and the Death of
Democracy, London: Random House, 2001 (pb. £12.99).

Michael Hardt and Antonio Negri, Empire, Cambridge, Massachusetts: Harvard University Press, 2000 (pb. £12.99).

Whatever the merits of Naomi Klein’s politics there can be little doubt that
No Logo was a timely intervention. In the theatre of struggles against the
effects of globalisation, Klein has become like a war correspondent: a Kate
Adie for the liberal left. As its publicity suggests the book became part of
a movement. But which movement? That of young activists devising ingenious
means of publicising their protests against multinationals and
trans-national alliances of political forces? Or the movement within the
media that has sought to mould the collective impression of these protests?

"The Ontological Status

of Conspiracy Theory"

Hakim Bey

(for Kevin Coogan)

Is conspiracy theory a delusion of the Right which has infected the Left as well? Leftist Conspiracy Theorists sometimes make uncritical use of the texts of Rightest Conspiracy Theorists-delving into the work of the Liberty Lobby for JFK Assassination tidbits, picking up Birchist notions about the CFR/Bilderberg/Rockefeller "liberal" internationalists, etc., etc. Since anti-semitism can be found on the Left as well as the Right, echoes of the Protocols may be heard from both directions. Even some anarchists are attracted to "Historical Revisionism". Anticapitalism or economic populism on the Right has its counterpoint on the Left in "Red Fascism", which broke the surface of History in the Hitler/Stalin Pact, and has come back to haunt us in the bizarre European "Third Wave" amalgamation of Right and Left extremism, a phenomenon which emerges in the USA in the libertine nihilism and "satanism" of anarcho-fascist groups like Amok Press and Radio Werewolf -- and conspiracy theory plays a big role in all these ideologies.

"Postscript on the Societies of Control"

Gilles Deleuze

1. Historical

Foucault located the _disciplinary societies_ in the
eighteenth and nineteenth centuries; they reach their height at the
outset of the twentieth. They initiate the organization of vast
spaces of enclosure. The individual never ceases passing from one
closed environment to another, each having its own laws: first the
family; then the school ("you are no longer in your family"); then
the barracks ("you are no longer at school"); then the factory;
from time to time the hospital; possibly the prison, the preeminent
instance of the enclosed environment. It's the prison that serves
as the analogical model: at the sight of some laborers, the heroine
of Rossellini's _Europa '51_ could exclaim, "I thought I was seeing

"Desire and Pleasure"

Gilles Deleuze

(Translated by Melissa McMahon)

"Editorial Foreword"

By Francois Ewald 1

The following text is not just unpublished. There is something intimate, secret, confidential about it. It consists of a series of notes -- classed from A to H -- that Gilles Deleuze had entrusted to me in order that I give them to Michel Foucault. It was in 1977.

saeed writes: "This is from

Le Monde diplomatique -- November 2002

"Terrorism Is Society's Condemnation of Itself"

Jean Baudrillard

The despair of having everything

The West's mission is to make the world's wealth of cultures
interchangeable, and to subordinate them within the global
order. Our culture, which is bereft of values, revenges
itself upon the values of other cultures.

Is globalisation inevitable? What fervour propels the
world to embrace such an abstract idea? And what force
drives us to make that idea a reality so unconditionally?

hydrarchist writes This interview was published in the second issue of Make World Magazine.

Empire’s commercial success indicates how the interpretative proposal
of the book resonates with the reality of the present. The proposal
has become, thorugh agreement or disagreement, a compulsory
point of reference in the debate on the global world. S11
intercepts it, is interrogated by it and interrogates it: especially the
relationship between the form of Imperial sovereignty outlined in
the book and the actual American policy. The latter seems to be
characterised as a traditional imperialist state that aims to redesign
the geo-political borders of the planet by mobilising national
identities more than as global decentred and deterritoiralised Empire
that administers hybrid identities and flexible hierachies with
no recourse to ethnic, national traditions and values.

The clash in the
western mind

Antonio Negri

Empire came out in the US at
the beginning of 2000 and in Italy two years later.
In between the two towers collapsed. One
would have expected the Italian edition to have
an additional chapter on S11 like many other political
books that came out this year. You didn’t
add one, is it because the event was not epochal
or because it did not constitute a surprise for
your thesis?

"Remaking Social Practices" (1)

by Felix Guattari

The routines of daily life, and the banality of the world represented to
us by the media, surround us with a reassuring atmosphere in which nothing
is any longer of real consequence. We cover our eyes; we forbid ourselves
to think about the turbulent passage of our times, which swiftly thrusts
far behind us our familiar past, which effaces ways of being and living
that are still fresh in our minds, and which slaps our future onto an
opaque horizon, heavy with thick clouds and miasmas. We depend all the
more on the reassurance that nothing is assured.

hydrarchist writes "This essay was recently republished in Make World 2, Magazine.

Nothing appears so enigmatic today as the question of what it
means to act. This issue seems both enigmatic and out of reach--
up in the heavens, one might say. If nobody asks me what political
action is, I seem to know; but if I have to explain it to somebody
who asks, this presumed knowledge evaporates into incoherence.
And yet what notion is more familiar in people's everyday speech
than action? Why has the obvious become clothed in mystery?
Why is it so puzzling?

Virtuosity and
The Political
Theory of Exodus

Paolo Virno

According to a long tradition
of thought, the realm of political action can
be defined fairly precisely by two boundaries. The
first relates to labor, to its taciturn and instru-mental
character, to that automatism that makes
of it a repetitive and predictable process. The
second relates to pure thought, to the solitary
and non-appearing quality of its activity. Political
action is unlike labor in that its sphere of inter-vention
is social relations, not natural materials.
It modifies the context within which it is inscribed,
rather than creates new objects to fill it.
Unlike intellectual reflection, action is public,
geared to exteriorization, to contingency, to the
hustle and bustle of the multitude.

SCP-New York writes:

"Why We Refuse to 'Play Detective' "

Surveillance Camera Players -- NY

In the early days of the process of identification [...], the identity of a person was established through his signature. The invention of photography was a turning point in the history of this process. It is no less significant for criminology than the invention of the printing press is for literature. Photography made it possible for the first time to preserve permanent and unmistakable traces of a human being. The detective story came into being when this most decisive conquest of a person's incognito had been accomplished. Since then, the end of efforts to capture a man in his speech and actions has not been in sight. -- Walter Benjamin, The Paris of the Second Empire in Baudelaire, 1938

Detective stories are very, very popular these days, not only in bookstores, but also at the movies and on television, where they are sometimes called "police dramas." What accounts for the enduring popularity of the detective story? A big factor is obviously the salacious subject matter, the crimes, the most common of which is murder. To guard against the accusation that the writers and readers of such gruesome fictions are puerile or perverted, the center of attention of these "guilty pleasures" is shifted from the crime and the criminal who committed it to the detective who investigates the case. No doubt this is shift is made with great reluctance, because it is commonly believed that criminals are "more interesting people" than police officers. In any event, the need to compromise suggests that it isn't so much the gruesome crimes, but the narrative's displaced relationship to them, that makes the detective story so popular as a genre. People may love to read about criminals, but, deep down, they identify with detectives.


Towards an Ontological Definition of the Multitude"

by Antonio Negri

(Translated by Arianna Bove)

1) The multitude is the name of an immanence. The multitude is a whole of singularities. On these premises we can immediately begin to trace an ontological definition of what is left of reality once the concept of the people is freed from transcendence.


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