Let me clarify one thing from the start: Christopher Nolan’s Batman: The Dark Knight Rises really is a piece of anti-Occupy propaganda. Nolan, the director, claims the script was written before the movement even started, and that the famous scenes of the occupation of New York (“Gotham”) were really inspired by Dickens’ account of the French Revolution.
Imagine for a second, we live in communes, villages, squated and reclaimed commons, autonmous territories that are inhabited and defended by the communities that live there. Imagine a post collapse world and the democratic and sustainable alternatives we all work so hard to develop become village institutions. Imagine more so the seccesionist future ahead of us in the new Global Corporatist World War on the commons, on the indigenous peoples left, and all of those trying to find our way back to the lost territory we know exists!
On Friday, September 20th 2013, the Full Frame Theatre in Durham, NC hosted the premiere of a film called 'Let The Fire Burn' by filmmaker and director, Jason Osder. It was supposed to premiere during the Full Frame Film Festival in April, but had to postpone its Durham debut until Full Frame’s Third Friday Free Film Series. It was a documentary about the bombing of an organization called MOVE and historical developments concerning the group’s political repression by the city of Philadelphia since 1978. Osder’s premiere of 'Let The Fire Burn' was absolutely riveting.
Following on the heels of our conversation, concerning John Kelsey—thank you again for that exquisite dinner at your home and the stroll through Montmartre, I have always preferred le Droite — as usual our interludes birth a wealth to consider. During our talk you revealed that you were familiar with Kelsey from the late 90's, but wondered why anyone would bother to launch a public attack, especially now that the artist's personality is old hat. And when we delved into The Kelsey Collection Artforum 2004-2012 you expressed difficulty approaching the material due to feeling it crossed over to something … too personal… if I may interrupt, forestalling an accusation about my intentions, and quote a long dead Prussian politician,"Neid und Gier, das ist mein Bier." Which, as far as I've been able to make out, means, "Envy and greed — that's my beer."
Michèle Bernstein wrote two versions of the same story, that is to say, the story of Gilles and Geneviève, a husband and wife who have an “open relationship,” one that allows each one to have affairs and yet remain happily married. There’s an easy to read, short version (Tous les chevaux du roi, published in French by Buchet/Chastel in 1960), and a more challenging, longer version (La Nuit, published in French by the same publisher in 1961).
One by one, Molly Fair flattened them on the table. She had in her hands a screen print, dated Feb. 22, 1987, commemorating Malcolm X — “Our Shining Black Prince.” Another pictured Sonia Sanchez, a poet active in the civil rights movement. “That’s pretty cool,” Ms. Fair said, seeing Ms. Sanchez’s signature.
In the days leading up today's ousting of Egyptian president Mohammed Morsi, many of the protesters in the country's Tahrir Square concentrated laser pointers upward, directed at the military helicopters flying above them.
McKenzie Wark is full of shit. Confronted with a denunciation of him, he will exclaim, “Oh, have some wit or imagination for once.” But then, a minute later, he will say of the title of that same denunciation, “That’s a good one” and call out to his admirers, like he was a trained parrot, “Let’s all retweet that!” He will dismiss the text of such a denunciation as “pro-situ posturing,” but will then claim that it “warms my heart that somebody still cares, and holds debordiana sacred. Keepers of the flame, etc.” “Yes i respect the fact that there's people vigilant about the memory of all things Situationist.”
It seems to us that a response is necessary to this impudent and silly provocation. Silence on the part of people like us – who have spent many years and a great deal of effort trying to understand, enrich and act in accordance with what remains vital and relevant in the situationist critique of spectacular society – would only allow those unfamiliar with, newly informed of or hostile to the legacy of Guy Debord and the other members of the Situationist International to think that impudent and silly provocateurs such as McKenzie Wark are the only ones who are interested in this legacy today.