Informed by the conceptualisation of an "aesthetic politics" around largely unlawful rave and dance scenes in Britain between the late-1980s and mid-1990s, this article explores negotiations between these EDMCs and the British Parliamentary and legal establishments. Two case studies will inform the argument that rave culture effects a "performative protest". That is, Autechre's response to the 1994 Criminal Justice and Public Order Act and the work of The Justified Ancients of Mu Mu in the late-1980s will be discussed in order to suggest that rave can be considered a speech-act that immediately communicates its own refusal to submit to authority. It will be suggested that rave's responses to power structures derive from the internal dynamics of its own aesthetic politics. I shall conclude that rave has often functioned as a potent political vehicle on its own terms, but that the embrace of its own multiplicity safeguards it against exhaustion by any single agenda.
Making a Noise – Making a Difference: Techno-Punk and Terra-ism
By Graham St John (University of Queensland)
This article charts the convergence of post-punk/post-settler logics in the techno-punk development in Australia. Exploring how punk would become implicated in the cultural politics of a settler society struggling for legitimacy, it maps the ground out of which Labrats sound system (and their hybrid outfit Combat Wombat) arose. It provides an entry to punk through an analysis of the concept of hardcore in the context of cultural mobilisations which, following more than two centuries of European colonisation, evince desires to make reparations and forge alliances with Indigenous people and landscape. To achieve this, the article traces the contours and investigates the implications of Sydney’s techno-punk emergence (as seen in The Jellyheads, Non Bossy Posse, Vibe Tribe and Ohms not Bombs), tracking the mobile and media savvy exploits of 1990s DIY sound systems and techno terra-ists>, aesthetes and activists adopting intimate and tactical media technologies, committing to independent and decentralised EDM creativity, and implicated in a movement for legitimate presence.
techno, anarcho-punk, hardcore, sound systems, postcolonialism, Sydney techno-punk scene
Kraken, waarom niet? from Stoorzender.tv on Vimeo.
Short dutch documetary on squatting. (dutch only). A bit outdated because it's made in the months before the law against squatting was passed 2 years ago. Still contains some good arguments though!
Capitalism Is The Crisis: Radical Politics in the Age of Austerity examines the ideological roots of the "austerity" agenda and proposes revolutionary paths out of the current crisis. The film features original interviews with Chris Hedges, Derrick Jensen, Michael Hardt, Peter Gelderloos, Leo Panitch, David McNally, Richard J.F. Day, Imre Szeman, Wayne Price, and many more!
The 2008 "financial crisis" in the United States was a systemic fraud in which the wealthy finance capitalists stole trillions of public dollars. No one was jailed for this crime, the largest theft of public money in history.
Instead, the rich forced working people across the globe to pay for their "crisis" through punitive "austerity" programs that gutted public services and repealed workers' rights.
Austerity was named "Word of the Year" for 2010.
This documentary explains the nature of capitalist crisis, visits the protests against austerity measures, and recommends revolutionary paths for the future.
Special attention is devoted to the crisis in Greece, the 2010 G20 Summit protest in Toronto, Canada, and the remarkable surge of solidarity in Madison, Wisconsin.
March 20, 1962 Berkeley Language Center - Speech Archive SA 0269
"And here I would like briefly to compare the parable of Brave New World with another parable which was put forth more recently in George Orwell's book, Nineteen Eighty- Four. Orwell wrote his book between, I think between 45 and 48 at the time when the Stalinist terror regime was still in Full swing and just after the collapse of the Hitlerian terror regime. And his book which I admire greatly, it's a book of very great talent and extraordinary ingenuity, shows, so to say, a projection into the future of the immediate past, of what for him was the immediate past, and the immediate present, it was a projection into the future of a society where control was exercised wholly by terrorism and violent attacks upon the mind-body of individuals.
Whereas my own book which was written in 1932 when there was only a mild dictatorship in the form of Mussolini in existence, was not overshadowed by the idea of terrorism, and I was therefore free in a way in which Orwell was not free, to think about these other methods of control, these non-violent methods and my, I'm inclined to think that the scientific dictatorships of the future, and I think there are going to be scientific dictatorships in many parts of the world, will be probably a good deal nearer to the brave new world pattern than to the 1984 pattern, they will a good deal nearer not because of any humanitarian qualms of the scientific dictators but simply because the BNW pattern is probably a good deal more efficient than the other." (excerpt from the transcript)
"It seems to me that the nature of the ultimate revolution with which we are now faced is precisely this, that we are in process of developing a whole series of techniques which will enable the controlling oligarchy, who have always existed and presumably always will exist, to get people actually to love their servitude. This seems to me the ultimate malevolent revolution... This is a problem which has interested me for many years and about which I wrote, 30 years ago, a fable Brave New World which is essentially the account of a society making use of all the devices at that time available and some of the devices which I imagined to be possible, making use of them in order to, first of all, to standardize the population, to iron out inconvenient human differences, to create, so to say, mass produced models of human beings arranged in some kind of a scientific caste system. Since then I have continued to be extremely interested in this problem and I have noticed with increasing dismay that a number of the predictions which were purely fantastic when I made them 30 years ago have come true or seem in process of coming true. A number of techniques about which I talked seem to be here already, and that there seems to be a general movement in the direction of this kind of ultimate revolution, this method of control by which people can be made to enjoy a state of affairs which by any decent standard they ought not to enjoy. I mean the enjoyment of servitude."
"Petites Voix" liveset by FKY produced in 2011. The first liveset in a looooong time. Good to see that he is still out there.. and didn't loose his good old vibe! It was originally posted on his soundcloud, but that post has reached a download limit. So I rehosted it on my Rapidshare account.
Tilt - French graffiti artist, renowned for painting on buildings, canvases and naked women.
His recently released print by POW of the Union Jack is made up of lyrics from the Sex Pistols "God Save the Queen".
Pictures On Walls invited him to East London where he painted his Union Jack large scale on the magic wall of the Village Underground.
"The mainstream comes to you, but you have to go to the underground."
- Frank Zappa
Underground culture, or just underground, is a term to describe various alternative cultures which either consider themselves different to the mainstream of society and culture, or are considered so by others. The word underground is used because there is a history of resistance movements under harsh regimes where the term underground was employed to refer to the necessary secrecy of the resisters.
For example, the Underground Railroad was a network of clandestine routes by which African slaves in the 19th century United States attempted to escape to freedom.
The unmodified term "The underground" was a common name for World War II resistance movements. It was later applied to counter-cultural movement(s) many of which sprang up during the 1960s.
These 1960s and 1970s underground cultural movements had some connections to the "beat generation" which had, in turn, been inspired by the philosophers, artists and poets of the Paris Existentialist movement which gathered around Jean-Paul Sartre and Albert Camus in the years after World War II.
It took a few years more, however, for the culture Kerouac describes to grow in numbers and redefine itself variously as the underground culture or the freak scene etc.
Since then, the term has come to designate various subcultures such as mod culture, hippie culture, punk rock culture, techno music/rave culture and underground hip hop.
Applied to the arts, the term underground typically means artists that are not corporately sponsored and generally do not want to be. However, with the advent of the world wide web (or internet), many experts argue that there is no underground since so much art and so many political ideas, especially music, is far easier to locate and because so it provides artists and activists a means to promote their work and ideas without large, established corporate interests. Even the concept of obscurity is questionable given 21st century access to information about past or current artistic trends.
The Ben Folds Five song "Underground" pays homage to alternative culture. (Source)
Gene Sharp is the world's foremost expert on non-violent revolution. His work has been translated into more than 30 languages, his books slipped across borders and hidden from secret policemen all over the world.
His central message is that the power of dictatorships comes from the willing obedience of the people they govern - and that if the people can develop techniques of withholding their consent, a regime will crumble.
From now on we make the full version of UNLIKE U available to all of you here. As we spent a lot of time and put in a lot of lifeblood on working on that movie we would like to give everybody the opportunity to see the outcome.
Maybe some of you have noticed that we as the moviemakers and producers are recently fighting legally for the ongoing distribution of UNLIKE U.
The Berlin transport company (BVG) has sued us in order to refrain us from distributing the movie regarding the places the action documented in UNLIKE U took place in.
To understand all of this you’ve got to see the movie yourself.
Recently more and more people are asking how they could support us.
Therefore we opened a support account for legal fees and for the preservation of UNLIKE U.