Radical media, politics and culture.


Che Guevara, Paulo Friere and the Politics of Hope:
Reclaiming Critical Pedagogy

by Peter Maclaren

On a recent voyage to the rain forests of Costa Rica, I rode a bus through
the beautiful city of Cartago. From my window I noticed a young man with a
long ponytail running beside the bus. As the bus passed him, he glanced up
and our eyes momentarily met; I noticed that he was wearing a Che T-shirt
with the inscription ‘¡Che Vive!’. A fleeting sensation of plaintive
connectedness overcame me, and I managed to give him a quick ‘thumbs-up’
gesture of affirmation just in time for him to return a broad smile to the
crazy gringo. For a brief moment, I felt that this ponytailed stranger and I
were linked by a project larger than both of us. During that instant, I
could tangibly sense between us a collective yearning for a world free from
the burdens of this one, and I knew that I was not alone. The image of Che
that he wore on his breast like a secular Panagia pointed to a realm of
revolutionary values held in trust by all those who wish to break the chains
of capital and be free. Che has a way of connecting—if only in this
whimsical way—people who share a common resolve to fight injustice and to
liberate the world from cruelty and exploitation. There was no way of
knowing the politics of this young man and how seriously he identified with
the life and teachings of El Che. But Che’s image brings out the promise of
such a connection and the political fecundity of even this momentary

Melody Carter-Parker writes --->
[R][R][F] 2004 --->XP
global networking project created and developed by Agricola de Cologne. The first suite of physical installations/presentations started on Friday, 5 March 2004 (running until 30 April 2004) at National Museum of Contemporary Art Bucaresti/Romania
Bergen Center of Electronic Arts Bergen/Norway http://www.bek.no
later -->20-28 March
New Media Art Festival Bangkok/Thailand http://thailand.culturebase.org
[R][R][F] 2004 --->XP
consists of an adimistrative and an artistic body.
The administrative body contains all basic project information,
the artistic body the "Memory Channels" of R][R][F] 2004 --->XP
--->all details on http://www.newmediafest.org/rrf2004

The basic part of [R][R][F] 2004 --->XP
is [R][R][F] version 2.0 including following curators
and their selection of artists --->
Gita Hashemi (Iran/Canada), Raul Ferrera-Balanquet (Cuba/USA)
Calin Man and Stefan Tiron (Romania), Eva Sjuve (Norway)
Bjoern Norberg (Sweden), Raquel Partnoy (USA/Argentina)
Agricola de Cologne & Melody Parker-Carter (both Germany)
Featured is the ongoing curatorial environment, entitled
"Women: Memory and Repression in Argentina".
Please find all curators and selected artists on

Zizek Watch

Scott McLemee, Chronicle of Higher Education, April 2, 2004

The world's leading cultural theorist has held exactly the same academic title for a quarter of a century. Slavoj Zizek is a "researcher" at the Institute for Social Sciences at the University of Ljubljana, in Slovenia. He attributes his great intellectual vitality to the fact that he has no reason to work very hard. "I'm on a permanent sabbatical," he tells Zizek Watch. "I have a pure research job, where I do nothing."

Anonymous Comrade writes:

"Rickie Lee Jones Gets Political"

Dan Grunebaum, Japan Today

There's a point not too far into American singer Rickie Lee
Jones's new album — in the first verse of the first song in
fact — that makes one do a double take. Could this be the
insouciant piano girl that brought us 1979's gently mocking,
"Chuck E's in Love?"

The song, "Ugly Man," doesn't pull any punches. As soon as
Jones lilts into her first verse, we get a strong hint as to
who the target is: "He's an ugly man/he always was an ugly
man/he grew up to be like his father/an ugly man." And just
in case we had our doubts, she soon puts them to rest,
delivering in deadpan style the lyric, "Revolution/now it's
finally going to come/everywhere that you're not

"The Spaces of a Cultural Question"

Brian Holmes interviewed by Marion von Osten

[In preparation of
"Atelier Europa: A Small Post-Fordistic Drama," opening April 2,
2004 in the Munich Kunstverein.]

Marion: You are editing the next issue of Multitudes on cultural and
creative labor. Can you explain why and out of what perspective you look
on cultural labor and creative work, i.e. do you think it is possible to
explain the inner dynamics of post-Fordist production modes due to this
specific form of work and its conditions?

"On Neoconservatives and Trotskyism"

Louis Proyect

Reviewing "Arguing the World": a movie about the journey from Marxism to neoconservatism

Joseph Dorman's "Arguing the World" is a documentary study of the careers of four celebrated Jewish intellectuals from immigrant working class families who went to City College in the 1930s. While one of them, Irving Howe, stayed more or less critical of American society, the other three -- Irving Kristol, Nathan Glazer and Daniel Bell -- evolved from establishment liberalism in the 1950s to neoconservativism in the Reagan era. I use the word career advisedly in describing their paths. Perhaps the most honest account of what it meant to belong to this group is found in Norman Podhoretz's Making It, where he admits that what motivated each shift in his political or cultural affiliation was how it would it advance his career.

Laugh It Off in yet another copyright infringement battle

South African culturejammers face more legal battles

Cape Town based South African controversial design and media company is involved in yet another copyright infringement battle.

The company creates culture jamming oriented t-shirts and print media that makes satirical commentary on social and political issues, primarily focusing on local concerns.

"Struggle, Event, Media"

Maurizio Lazzarato

Why can the
paradigm of representation not function in politics, nor
in artistic modes of expression, and here especially in
the production of works that employ moving images?

I will attempt to
answer these questions by using the paradigm that imagines
the constitution of the world from the relationship
between event and multiplicity. Representation is conversely
founded on the subject-work paradigm. In this paradigm
the images, the signs and the statements have the function
of representing the object, the world, whereas in the
paradigm of the event, images, signs and statements
contribute to allowing the world to happen. Images,
signs and statements do not represent something, but
rather create possible worlds. I would like to explain
this paradigm using two concrete examples: the dynamic
of the emergence and the constitution of post-socialist
political movements and the way television functions,
in other words, signs, images and statements in contemporary


Joseph Addison

The celebratory rhetoric of cosmopolitanism of commodities was
already perfected nearly three centuries ago:

There is no Place in the Town which I so much love to
frequent as the _Royal-Exchange_. It gives me a secret Satisfaction,
and, in some measure, gratifies my Vanity, as I am an _Englishman_,
to see so rich an Assembly of Country-men and Foreigners consulting
together upon the private Business of Mankind, and making this
Metropolis a kind of _Emporium_ for the whole Earth. I must confess I
look upon High-Change to be a great Council, in which all
considerable Nations have their Representatives. Factors in the
Trading World are what Ambassadors are in the Politick World; they
negotiate Affairs, conclude Treaties, and maintain a good
Correspondence between those wealthy Societies of Men that are
divided from one another by Seas and Oceans, or live on the different
Extremities of a Continent.

"Passion: Regular or Decaf?"

Slavoj Zizek, In These Times

Reviewing Mel Gibson's film, "The Passion of the Christ"

Those who virulently criticized Mel Gibson's "The Passion" even before
its release seem unassailable: Are they not justified to worry that
the film, made by a fanatic Catholic known for occasional
anti-Semitic outbursts, may ignite anti-Semitic sentiments?


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