Why Its Kicking Off Everywhere: The New Global Revolutions
Paul Mason
Verso
2012
237 pages
Back in the years of 1994, 1995, and 1996, when the Internet was just emerging as a mainstream media service, a large number of books with titles like 'Cyberia' were published about the new frontier of digital freedoms to be found in cyberspace. These books made grandiose predictions about the utopia that lay beyond the horizon now that the internet's mass availability had just come into view. The predictions about increased democracy and global intelligence and everything else now seems incredibly naive to the critical observer, but now the gushing cheerleaders of 1990s internet freedoms and consciousness, like Timothy Leary, Douglas Rushkoff, Bruce Sterling, Mark Dery are replaced by critics such as Sherry Turkle, Jaron Lanier, Jodi Dean, and Robert McChesney; critics who discuss the adverse effects digital and networked technologies have on society, literacy, politics, commerce, etc.
One of the early adopters of these networked technologies as they appeared in the 90s, were the Zapatista Army for National Liberation, EZLN, popularly known as the Zapatistas, a group of indigenous revolutionaries struggling for greater autonomy in the southern Mexican state of Chiapas. Beginning their revolution on January 1, 1994, the EZLN disseminated their communiques via the internet, in Spanish and English, to the world, marking the very beginnings of what was popularly known as the anti-globalization movement and what is referred to by anarchist anthropologist (a title he refuses on his twitter page) David Graeber as the global justice movement (a name for the movement which I haven't seen in print in any source other than his work). The Zapatistas use of the internet to get their message out was notable for two reasons, first was the novelty of the internet at the time, and the novelty of its use by political radicals, and the second was that it was being used by revolutionaries in a remote and impoverished section of Mexico by indigenous people. That radicals of the fourth world were using the latest in communications technologies garnered the EZLN the label of the first post-modern revolutionaries. In the year 2000, with the anti-WTO protests in Seattle, the anti-globalization movement became a global phenomenon with the full attention of the mainstream media, and one of the aspects of this movement the mainstream media fixated on was the protesters use of technology. At the time, it was of interest to observers that activists were using things like laptops and websites to any extent.
The interesting thing about Paul Mason's book, Why its Kicking Off Everywhere, is not that it has anything interesting to say about the uprisings seen around the globe in 2011. Mason's is far from the only book to examine those events, and what it has to say about them is typical of sympathetic journalists. Of course, Mason gets that the human element of these movements, but personal testimonies of movement participation have been a major feature of these uprisings, and there are entire books from the Arab Spring and the Occupy movement written by the people. Its that it's a book-length emanation of this continued amazement over that activists are using digital technologies that makes it interesting. History is filled with examples of radicals using their contemporary communication technologies to disseminate their ideas at the same time that they engage in direct action. Consider the mass of writings produced by radical groups, such as the Diggers during 17th century England because of their access to printing presses, or the Yippies studies of television formats and media theories so they could appear effectively on the medium. That activists use current communication technologies in their struggle is to be expected, but because so much hope has been invested in the internet's potential to direct change, it is still possible, in 2012, for an individual to write a book with nothing more profound to say about activists than that they're using blackberries and facebook to communicate with one another. That's what Why Its Kicking Off Everywhere is, a lengthy assertion that technologies are at the forefront of political change rather than people and their ideas. A return to the hope felt in the mid-90s that the internet has produced new kinds of spaces where all our hopes for mankind will be realized. That recent communication technologies permit activists with rapid-fire abilities to evade systems of control and authority, a point of view that's obviously incorrect. When Paul Mason writes that new activists using smartphones and social media are "pioneering a major expansion in the power of the individual human being", he's echoing the never-realized transhumanist pronouncements of 80s and early/mid-90s tech gurus like Timothy Leary. When Paul Mason makes analogies between the current situation and the French Revolution and says "A deep social crisis was under way, then as now. But with one big difference: today, in every garret there is a laptop." He's repeating the same amazement shown in 2000-2001 over activists using computers. I think it is possible that a reader could dive into the literature of the anti-globalization movement and come up with similar statements, and the major difference between then and now, is that now the brandnames for each communication format are noted.
Taken at a broader level, there is an intense delirium for digital technologies in all fields and social areas, and similar books are being written discussing how incredibly epoch making tablet computers and social media are in everything, including political activism. While its undeniable that these technologies are having major effects across society, I don't see how people can look at the internet and its related technologies, and also look at how they're actually used by people on a daily basis, and see their effects only as positive steps taken towards a more perfect world. One of the effects of the internet as a communications technology is that it occupies our fields of vision and sets limits on what we can see in ways that always refers back to itself. In this way, of course, digital and networked technologies appear to us as problem solving in an of themselves if they're all we can see in the world. In Mason's book, he quotes an activist who refuses to read radical texts of the past, instead favoring new ideas, especially if they're spread on twitter. While Mason offers these statements as examples of new kinds of activists who are resistant to ideologies, a ludicrous position as ideology is always at play, this activist actually reveals herself to be vulnerable to manipulation due to her preference in consumer communication products. These new consumer technologies commodify communication, friendship, emotion, and possibly even revolution. What's being described here is designer communication, and it is inserting itself into the revolutionary spirit in ways that are actually insidious. Mason is writing in 2012, now in 2014 it might be interesting to think about how an obsessive fetishizing of these communication tools contributed to the dissolution of the movements they apparently pushed forward a couple of years ago. They are, fundamentally, consumer products and provide consumer experiences, and a book can just as easily be written about these media companies like facebook doing things like deleting the Anarchist Memes page. Activists can hold discussions on facebook, activists can also lose their job for revealing their political attitudes on their facebook page. As communication tools, social media networks should not be taken as inherently revolutionary or the primary means through which revolution is won.
Friday, September 26, 2014
Sunday, September 21, 2014
partisan resistance - 2001 - Resistance: Untold Stories of Jewish Partisans
Resistance: Untold Stories of Jewish Partisans
Seth Kramer
Great Projects Film Company Inc
2001
Resistance: Untold Stories of Jewish Partisans is a short television documentary from PBS highlighting the existence of Jewish armed resistance units in Germany during the Third Reich. There is a lot of media commemorating or dramatizing the WWII-era partisan fighters in France and other occupied countries but much less about armed resistance within Germany, let alone about Jewish resistance. Direct resistance adds another mode of Jewish response to the atrocities of the Third Reich, that of sabotage and armed direct action, in addition to the more widely historicized accounts of submission, hiding, passing for German, receiving protection from sympathetic Nazis such as Oskar Schindler, and emigration to democratic countries.
The documentary consists of a familiar pattern of showing interview subjects recalling anecdotes from their experiences interspersed with archival footage and photographs representing the referred era. This kind of subject matter provides an alternative kind military history which I am very interested in delving into further, and a quick survey has revealed that there's quite a bit of material about Jewish resistance, and this film is not the only to claim to be telling an 'untold story' in its title. Generally I ignore the military history sections of bookstores entirely but now that I am aware of the tradition of partisan fighters and oppressed populations taking up arms and developing strategies for engaging their enemies in warfare, I consider this a new topic to research within the field of counterculture studies.
To summarize the documentary briefly, the stories these former fighters tell reveal the fact that significant damage was done to the Reich by Jewish partisan fighters. They describe escaping from the ghettos to live in the woods, acquiring guns from a farmer, executing German soldiers and informers, and sabotaging the infrastructure of Hitler's Germany. It is stated during the documentary that there was an estimated 20 to 30,000 such partisans who fought in Germany, a large fighting force that must have made a significant contribution towards weakening Nazi control in Germany. The documentary's primary purpose is to oppose myths that there was no real Jewish opposition to Nazi oppression.
Seth Kramer
Great Projects Film Company Inc
2001
Resistance: Untold Stories of Jewish Partisans is a short television documentary from PBS highlighting the existence of Jewish armed resistance units in Germany during the Third Reich. There is a lot of media commemorating or dramatizing the WWII-era partisan fighters in France and other occupied countries but much less about armed resistance within Germany, let alone about Jewish resistance. Direct resistance adds another mode of Jewish response to the atrocities of the Third Reich, that of sabotage and armed direct action, in addition to the more widely historicized accounts of submission, hiding, passing for German, receiving protection from sympathetic Nazis such as Oskar Schindler, and emigration to democratic countries.
The documentary consists of a familiar pattern of showing interview subjects recalling anecdotes from their experiences interspersed with archival footage and photographs representing the referred era. This kind of subject matter provides an alternative kind military history which I am very interested in delving into further, and a quick survey has revealed that there's quite a bit of material about Jewish resistance, and this film is not the only to claim to be telling an 'untold story' in its title. Generally I ignore the military history sections of bookstores entirely but now that I am aware of the tradition of partisan fighters and oppressed populations taking up arms and developing strategies for engaging their enemies in warfare, I consider this a new topic to research within the field of counterculture studies.
To summarize the documentary briefly, the stories these former fighters tell reveal the fact that significant damage was done to the Reich by Jewish partisan fighters. They describe escaping from the ghettos to live in the woods, acquiring guns from a farmer, executing German soldiers and informers, and sabotaging the infrastructure of Hitler's Germany. It is stated during the documentary that there was an estimated 20 to 30,000 such partisans who fought in Germany, a large fighting force that must have made a significant contribution towards weakening Nazi control in Germany. The documentary's primary purpose is to oppose myths that there was no real Jewish opposition to Nazi oppression.
Sunday, February 2, 2014
john waters - 2006 - This Filthy World
This Filthy World
Jeff Garlin
2006
Cinemavault
86 min.
John Waters and David Lynch are the greatest American filmmakers, and neither one of them has made a feature length film in years. Waters, in interviews, has complained of difficulties in securing funding for his film projects, a problem which stalled production of his last film in progress, a work titled Fruitcake. Instead they've focused their energies on creative outlets such as lecturing (Waters is listed as a speaker at the European Graduate School), writing, music and photography. This Filthy World is an example of one of Waters' side gigs, a one-man show of the filmmaker speaking about his experiences as a low budget independent Baltimore movie director.
The show is essentially a staged telling of much of the same material that appears in Waters' book, Shock Value. He speaks about his life with the Dreamlanders, the name he and his friends used for the little social group they assembled to star in, and produce his early films. He speaks about his interest in attending criminal trials, his interest in unusual sexual practices, his illegal filmmaking practices, the trashy films and filmmakers who influenced him. This Filthy World shows John Waters joining other 'alternative' figures like Henry Rollins who draw in audiences to listen to them become storytellers of the countercultural past.
Jeff Garlin
2006
Cinemavault
86 min.
John Waters and David Lynch are the greatest American filmmakers, and neither one of them has made a feature length film in years. Waters, in interviews, has complained of difficulties in securing funding for his film projects, a problem which stalled production of his last film in progress, a work titled Fruitcake. Instead they've focused their energies on creative outlets such as lecturing (Waters is listed as a speaker at the European Graduate School), writing, music and photography. This Filthy World is an example of one of Waters' side gigs, a one-man show of the filmmaker speaking about his experiences as a low budget independent Baltimore movie director.
The show is essentially a staged telling of much of the same material that appears in Waters' book, Shock Value. He speaks about his life with the Dreamlanders, the name he and his friends used for the little social group they assembled to star in, and produce his early films. He speaks about his interest in attending criminal trials, his interest in unusual sexual practices, his illegal filmmaking practices, the trashy films and filmmakers who influenced him. This Filthy World shows John Waters joining other 'alternative' figures like Henry Rollins who draw in audiences to listen to them become storytellers of the countercultural past.
Tuesday, January 28, 2014
culture jamming - 2009 - The Yes Men Fix The World
The Yes Men Fix the World
Andy Bichlbaum and Mike Bonanno
Arte France
2009
87 minutes
The Yes Men are a pair of culture jamming pranksters whose interventions into media have revealed injustices in the basic structures of contemporary neoliberalist globalization. Their modus operandi has been to mimic the conventional forms by which information is packaged and delivered to contemporary audiences, deliver a message that is absurd, either in the traditional sense or in a modern sense where an inconvenient truth is acknowledged, and then capture the reactions of the audience. The most profound example of this later sense of the absurd which I mentioned, as expressed in the work of The Yes Men, can be seen in this interview wherein one of the Yes Men claim that Dow Chemical will make reparations for Union Carbide's 1984 Bophal (India) disaster, when the company's Bophal plant leaked toxic gasses which almost immediately caused over 15,000 deaths, now that Dow has purchased the guilty company. The result was Dow's stock dropped instantly, revealing the sense of justice encoded into markets, and The Yes Men were instantly acused of giving the people of Bophal false hope.
The film begins with the song 'Get Happy', which I otherwise know from David Lynch's television series Twin Peaks.
This documentary, The Yes Men Fix The World (an irritating title for a film that doesn't actually show them offering solutions) shows The Yes Men going behind the scenes of their own work and following up on its results. They used media to pretend as though officials were acknowledging the errors made in Bophal India, and also in New Orleans during Hurricane Katrina, and bringing equitable compensation to those affected populations. They visited these locations to speak with people and to ask them if they were filled with false hope, the generic critique of Yes Men interventions by media pundits. Naturally the people of of those locations have very good reason to be angry at the cruelty of governments, corporations, and markets, on a continuing basis and weren't especially put off by the actions of the culture jammers.
The film's revelation that the duo were so often accused of providing false hope is fascinating. Clearly the Yes Men are playing with media to create an image of what justice should look like when filtered through the conventions of contemporary media channels. Of course, when The Yes Men are revealed as tricksters, and media personalities are not including questions about the withholding of justice by the actual offenders in part of their response to the Yes Men's intervention, then they are choosing to protect the image of institutions responsible for disaster.
The Yes Men are media pranksters, and fundamentally this is a documentary about media, chains of communication and representation, the manipulation of symbols, and the public relations industry. TV's are viewed in strange locations, creating juxtapositions of imagery, the sleek PR television image against what is often a post-industrial setting, for our own consumption via our own screen. I'm not pointing that out to note any irony, but I do believe that the production of a documentary like this serves the purpose of giving the Yes Men a forum for responding to their own imagery and the responses it garnered in turn, since they're used to making images with other people's machinery.
Andy Bichlbaum and Mike Bonanno
Arte France
2009
87 minutes
The Yes Men are a pair of culture jamming pranksters whose interventions into media have revealed injustices in the basic structures of contemporary neoliberalist globalization. Their modus operandi has been to mimic the conventional forms by which information is packaged and delivered to contemporary audiences, deliver a message that is absurd, either in the traditional sense or in a modern sense where an inconvenient truth is acknowledged, and then capture the reactions of the audience. The most profound example of this later sense of the absurd which I mentioned, as expressed in the work of The Yes Men, can be seen in this interview wherein one of the Yes Men claim that Dow Chemical will make reparations for Union Carbide's 1984 Bophal (India) disaster, when the company's Bophal plant leaked toxic gasses which almost immediately caused over 15,000 deaths, now that Dow has purchased the guilty company. The result was Dow's stock dropped instantly, revealing the sense of justice encoded into markets, and The Yes Men were instantly acused of giving the people of Bophal false hope.
The film begins with the song 'Get Happy', which I otherwise know from David Lynch's television series Twin Peaks.
This documentary, The Yes Men Fix The World (an irritating title for a film that doesn't actually show them offering solutions) shows The Yes Men going behind the scenes of their own work and following up on its results. They used media to pretend as though officials were acknowledging the errors made in Bophal India, and also in New Orleans during Hurricane Katrina, and bringing equitable compensation to those affected populations. They visited these locations to speak with people and to ask them if they were filled with false hope, the generic critique of Yes Men interventions by media pundits. Naturally the people of of those locations have very good reason to be angry at the cruelty of governments, corporations, and markets, on a continuing basis and weren't especially put off by the actions of the culture jammers.
The film's revelation that the duo were so often accused of providing false hope is fascinating. Clearly the Yes Men are playing with media to create an image of what justice should look like when filtered through the conventions of contemporary media channels. Of course, when The Yes Men are revealed as tricksters, and media personalities are not including questions about the withholding of justice by the actual offenders in part of their response to the Yes Men's intervention, then they are choosing to protect the image of institutions responsible for disaster.
The Yes Men are media pranksters, and fundamentally this is a documentary about media, chains of communication and representation, the manipulation of symbols, and the public relations industry. TV's are viewed in strange locations, creating juxtapositions of imagery, the sleek PR television image against what is often a post-industrial setting, for our own consumption via our own screen. I'm not pointing that out to note any irony, but I do believe that the production of a documentary like this serves the purpose of giving the Yes Men a forum for responding to their own imagery and the responses it garnered in turn, since they're used to making images with other people's machinery.
Monday, January 27, 2014
punk - communal living - 2005 - Mouth to Mouth
Mouth to Mouth
Alison Murray
2005
M2M Films
101 minutes
Mouth to Mouth is a film about a group of street kids travelling through Europe in a rusty old van, attending festivals, dumpster diving, and smoking and drinking. The group, called Street People Armed with Radical Knowledge, or SPARK, goes from city to city living as crusty punks, forming social bonds and drifting around until they make their way to a vineyard somewhere in southern Europe. At this point the group began living communally and working the land while they also take on the form of the charismatic cult that was hinted at during their earlier travels.
The group has a leader, Harry, who expresses a bland self-help straight-edge philosophy and repeatedly admonishes his followers to "stay strong". At one point, while the group is on the road, their youngest member cuts his throat on a piece of twisted metal and dies after he's flung into a dumpster to look for food. No one really takes responsibility for the death, including the boy's best friend who carelessly tossed him in there, but its Harry's disinterest that is striking as an early clue of his evil. Once they occupy the vineyard, Harry begins exercising authority more cruelly, punishing disobedient followers by putting them in a well. The film ends predictably when one member dies under such punishment and another, Sherry (the film's main character - it doesn't really suit the purpose of my blog to speak about her) rejects Jeff's authority and leaves the group.
The group is a charismatic cult with a complete absence of spirituality, much like the cult in Martha Marcy May Marlene. They are a self-help group with a bad man for a leader. Much like with that other movie, its easier for me to understand how the bizarre and psychotic millenarianism of Charles Manson, for example, could compel followers to invest in him as an authority figure, than it is for me to understand how a bland punk-guru's dull can inspire his friends to obey his every word.
Director Allison Murray also made the documentary Train on the Brain, the greatest of all hobo/train hopping films, so that's good.
The Bug is on the soundtrack, which is also very good.
Alison Murray
2005
M2M Films
101 minutes
Mouth to Mouth is a film about a group of street kids travelling through Europe in a rusty old van, attending festivals, dumpster diving, and smoking and drinking. The group, called Street People Armed with Radical Knowledge, or SPARK, goes from city to city living as crusty punks, forming social bonds and drifting around until they make their way to a vineyard somewhere in southern Europe. At this point the group began living communally and working the land while they also take on the form of the charismatic cult that was hinted at during their earlier travels.
The group has a leader, Harry, who expresses a bland self-help straight-edge philosophy and repeatedly admonishes his followers to "stay strong". At one point, while the group is on the road, their youngest member cuts his throat on a piece of twisted metal and dies after he's flung into a dumpster to look for food. No one really takes responsibility for the death, including the boy's best friend who carelessly tossed him in there, but its Harry's disinterest that is striking as an early clue of his evil. Once they occupy the vineyard, Harry begins exercising authority more cruelly, punishing disobedient followers by putting them in a well. The film ends predictably when one member dies under such punishment and another, Sherry (the film's main character - it doesn't really suit the purpose of my blog to speak about her) rejects Jeff's authority and leaves the group.
The group is a charismatic cult with a complete absence of spirituality, much like the cult in Martha Marcy May Marlene. They are a self-help group with a bad man for a leader. Much like with that other movie, its easier for me to understand how the bizarre and psychotic millenarianism of Charles Manson, for example, could compel followers to invest in him as an authority figure, than it is for me to understand how a bland punk-guru's dull can inspire his friends to obey his every word.
Director Allison Murray also made the documentary Train on the Brain, the greatest of all hobo/train hopping films, so that's good.
The Bug is on the soundtrack, which is also very good.
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