“Cinema is magic in the service of dreams”
– Djibril Diop Mambéty

When, back in the 1990s, Félix Guattari coined the phrase Post-Media Era, this was of interest to me in that it seemed to imply a kind of bypassing of the mainstream mass media, or as filmmaker Peter Watkins calls it, the Monoform – a generalized communications format.¹
In some ways my musings upon Guattari’s phrase were nothing other than a re-articulation, during the winter years of the mid ‘90s, of the spirit of the underground culture that had arisen in the ‘60s and, to some degree, petered out as the post-punk moment (that had educated many people into a ‘desire to know’) reached a kind of apogee in pop: ‘selling out’ as an ironic pose. This was, in some ways, concomitant to the rise of cultural studies through which even the infiltrative intents of pop subversion were rendered into abstract signs of cultural kudos rather than into propellants of a cultural combativeness. In these depoliticized years of the ‘90s, then, there was, amidst the wider movement of the rave and techno culture, an opening towards a rearticulation of counter culture and, for me, post-media signaled once more the benefits of an independent approach that could not simply become a vehicle for the usual forms of politicization but, as a shared practice and as a mode of relation, could make ‘labour in culture’ the meeting ground for a re-imagining of a politics based upon the reappropriation of both the means of production and the means of expression.
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Story by Dan Hekate

Kate Macmillan had been following Specimen July 13th all week. He fascinated and beguiled her in equal measure. It had been months since she had been this intrigued.

Kate liked to follow people, to capture them unbeknownst. She hoped one day to put on a solo show somewhere in Shoreditch, ‘Waking Life’ it would be called. She had decided long ago there would be no interaction with the subject, that only through a lack of information could she portray an unbiased portrait. As a rule she would only follow her subject, her specimen for a day, for no more than two hours and always in a public space.

This week she had broken almost all of her rules. It was now the 19th; she was crouched behind a wrecked Ford Astra with her zoom lens pointed a hundred metres across an industrial marshland as Specimen July 13th rummaged through a skip.

July 13th’s hair was a bush of grey curls that defied gravity as it arched back from his receding hairline. He wore a mish mash of clothes or what first appeared as such, an old waistcoat, a new rain mac, a long wooly scarf. Although incongruous, the items somehow matched, blending together in a murky array of browns, blacks and dark greens. From afar he could easily be taken for a homeless man but up close it was apparent how cared for the clothes were, not that she had got up close. She had used the zoom. She had been careful, Kate was always careful. [Read more →]

Alexander Reid Ross
Against the Fascist Creep
AK Press, Chico, Oakland, Edinburgh, Baltimore, 2017
ISBN 978-1-84935-244-4

In the introduction, Alexander Reid Ross, who is a lecturer in geography at Portland State, explains what he means by ‘fascist creep’: it ‘refers to the porous borders between fascism and the radical right, through which fascism is able to “creep” into mainstream discourse. However, the “fascist creep” is also a double-edged term, because it refers more specifically to the crossover space between right and left that engenders fascism in the first place’.

Summing up different theories about fascism, he concludes: ‘fascism is a syncretic form of ultranationalist ideology developed through patriarchal mythopoesis, which seeks the destruction of the modern world and the spiritual alingenesis (“rebirth”) of an organic community led by natural elites through the fusion of technological advancement and cultural tradition’.

In the 390-page book he sets out to document this ‘creep’ from its beginnings to its current manifestations, from classical fascism to third positionism, national bolshevism, and autonomous nationalism. He also makes meaningful distinctions between the ‘radical right’, fringe ‘conservatives’, and neo-fascists or neo-Nazis without obscuring their many overlaps.

One of the difficult things to grasp about fascism is its fundamentally contradictory nature if one is looking at it in terms of a coherent program, philosophy, or ideology. This is something that has not been denied but rather celebrated by different fascist spokesmen, from Benito Mussolini to Armin Mohler, who emphasised that fascism rather than being bothered about its discrepancies in theory was more concerned with ‘style’. [Read more →]

Bong-Ra
Palestina EP
[PRSPCT RVLT Digi 005]
In his previous works Bong-Ra withheld from political statements. Now he makes an explicit statement with his 2-Track EP “Palestina”.

On the cover there is a protester with a keffiyeh scarf holding a Palestinian flag. The revenues of the release are donated to the Al Awda hospital in Gaza. There is a link on the bandcamp page to a campaign of culturesofresistance.org. More information, what this is about, is not given. The listener only gets the cover, two track titles, the tracks, and the link. It was released according to discogs as PRSPCT RVLT Digi 005, according to bandcamp as self-release without a label.

It would be important to know why this hospital and why now. In an interview with the dutch version of VICE magazine and in one Facebook post Bong-Ra delivers more information. He has always been a friend of the Palestinian cause. And he refers to a campaign of Norman Finkelstein, who in 2015 had initiated a donation campaign for the Al Awda hospital via the platform byline. The voice sample on the track “Gaza” is also Norman Finkelstein.

Bong-Ra says in his interview with VICE: [Read more →]