We do little more than state the obvious when, trying to come to terms with the politico-institutional earthquakes traversing our times, we say that language is the key to politics.
--from Capital and Affects
Ours is a century of fear. Governments and mass media bombard us with words and images: desert radicals, "rogue states," jihadists, WMDs, existential enemies of freedom. We labor beneath myths that neither address nor describe the present situation, monstrous deceptions produced by a sound bite society. There is no reckoning of actuality, no understanding of the individual lives that inaugurated this echo chamber.
The short-lived grouping of architects, sociologists, and urbanists known as Utopie, active in Paris from 1967 to 1978, was the product of several factors: the student protests for the reform of architectural education, the unprecedented expansion and replanning of the Parisian urban fabric carried out by the government of Charles de Gaulle, and the domestication of military and industrial technologies by an emerging consumer society.
Historical conflict no longer opposes two massive molar heaps, two classes—;the exploited and the exploiters, the dominant and dominated, managers and workers—between which, in each individual case, it would be possible to differentiate. The front line no longer cuts through the middle of society; it now runs through each one of us. . . "
The idea of the Jewish nation was conceived before the organization of the Zionist movement in the nineteenth century and continued long after the creation of the state of Israel. In The Words and the Land, post-Zionist Israeli historian Shlomo Sand examines how both Jewish and Israeli intellectuals contributed to this process. One by one, he identifies and calls into question the foundation myths of the Israeli state, beginning with the myth of a people forcibly uprooted, a people-race that began to wander the world in search of a land of asylum.
We shouldn't forget that ancient philosophy used to be a mental workout in which logical forms were used like machines in a gym. . . . Philosophy today is a super-workout for communicative energies capable of finding points of contact throughout the entire world.
—from Neither Sun nor Death
The 2010 English-language edition of Christian Marazzi’s The Violence of Financial Capitalism made a groundbreaking work on the global financial crisis available to an expanded readership. This new edition has been updated to reflect recent events, up to and including the G20 summit in July 2010 and the broad consensus to reduce government spending that emerged from it.
We certainly have the unconscious that we deserve, an unconscious for specialists, ready-made for an institutionalized discourse. I would rather see it as something that wraps itself around us in everyday objects, something that is involved with day-to-day problems, with the world outside. It would be the possible itself, open to the socius, to the cosmos . . .
—from The Machinic Unconscious: Essays in Schizoanalysis
Before publishing his celebrated first novel, Horse Crazy, in 1987, Gary Indiana wrote and directed twelve plays for an informal company whose performers included the painter Bill Rice, composer Evan Lurie, the poet George-Therese Dickenson, writer and film actress Cookie Mueller, Warhol superstar and painter Viva, writer Victoria Pedersen, singer/actress Sharon Niesp, photographer Allen Frame, the legendary Taylor Mead, novelist Larry Mitchell, and others. Performed at the Mudd Club, Club 57, The Performing Garage, and Bill Rice's E.
The war machine is the motor of the social machine; the primitive social being relies entirely on war, primitive society cannot survive without war. The more war there is, the less unification there is, and the best enemy of the State is war. Primitive society is society against the State in that it is society-for-war.
—from The Archeology of Violence
I'd find it amusing if, in a few centuries, the only thing that our descendents condescend to retain of our artistic production, the only thing in which they'll see worlds to admire, to penetrate, the only thing that they'll show off as precious in immense museums after having flushed down the toilet all our acknowledged masterpieces, the only thing that will give them nostalgia and love for us will be our porn.
—from Diary of an Innocent
Long ago, in childhood, when Summer reverberates and feels and throbs all over, it begins to circumscribe my body along with my self, and my body gives it shape in turn: the "joy" of living, of experiencing, of already foreseeing dismembers it, this entire body explodes, neurons rush toward what attracts them, zones of sensation break off almost in blocks that come to rest at the four corners of the landscape, at the four corners of Creation.
"Society no longer exists, at least in the sense of a differentiated whole. There is only a tangle of norms and mechanisms through which THEY hold together the scattered tatters of the global biopolitical fabric, through which THEY prevent its violent disintegration. Empire is the administrator of this desolation, the supreme manager of a process of listless implosion."
—from Introduction to Civil War
Crisis in the Global Economy is the latest and most innovative collective reflection on the state of global capitalism, developed in the mobile "multiversity" of the UniNomade network of international researchers and activists during the months immediately following the first signals of the current financial and economic crisis. It constitutes the first organic and interdisciplinary attempt to analyze a crisis that is not merely financial in nature but implicates globalization and neoliberal capitalism.
In this "concise philosophy of the machine," Gerald Raunig provides a historical and critical backdrop to a concept proposed forty years ago by the French philosophers Félix Guattari and Gilles Deleuze: the machine, not as a technical device and apparatus, but as a social composition and concatenation. This conception of the machine as an arrangement of technical, bodily, intellectual, and social components subverts the opposition between man and machine, organism and mechanism, individual and community.
A runaway at thirteen, a reform-school graduate at sixteen, a performer in the legendary New York City Playhouse of the Ridiculous at seventeen, and an escapee from Andy Warhol's Factory scene at nineteen, Penny Arcade (born Susana Ventura) emerged in the 1980s as a primal force on the New York art scene and an originator of what came to be called performance art. Arcade's brand of high camp and street-smart, punk-rock cabaret showmanship has been winning over international audiences ever since. This autobiographical trilogy of plays represents her at her best.
They have to come back to us, because we know every detail of their orgasms, their little caprices, their little weaknesses and strengths. We know all of them. I mean, where do you expect them to go? They'll be disappointed anywhere else. Except for with us, because we know them like the back of our hand. As soon as they get in the door, it's like we'd made them ourselves. We know all the right things to say, all the gestures, there're no surprises.
—from The Little Black Book of Grisélidis Réal
"Alone in his forest dwelling, an ogre had spent years building machines to force his visitors to make love to one another: machines with pulleys, chains, clocks, collars, leather leggings, metal breastplates, oscillatory, pendular, or rotating dildos. One day, some adolescents who had lost their way, seven or eight brothers, entered the ogre's house..."
—From The Screwball Asses
"Our asshole is revolutionary."
"Workers of the world, masturbate!"
—Front Homosexuel d'Action Revolutionnaire slogan
We can reach every point in the world but, more importantly, we can be reached from any point in the world. Privacy and its possibilities are abolished. Attention is under siege everywhere. Not silence but uninterrupted noise, not the red desert, but a cognitive space overcharged with nervous incentives to act: this is the alienation of our times....
—from The Soul at Work
"I gazed out my window on the sea of dark clouds as my shaking seat jiggled the image into double vision; and I pictured the flat, geometrically divided western landscapes below, wondering why anyone still bothered to travel in this cookie-cutter country. What was the use of visiting identical reproductions of the same Wal-Mart or adding new encounters of equally streamlined mentality to the roster? As far as I was concerned, everything had been shorn from the same cloth, woven for years in the drab bungalows of suburban North America."
—from Pacific Agony
Poet and post-punk hero Eileen Myles has always operated in the art, writing, and queer performance scenes as a kind of observant flaneur. Myles travels the city—wandering on garbage-strewn New York streets in the heat of summer, drifting though the antiseptic malls of La Jolla, and riding in the van with Sister Spit—seeing it with a poet's eye for detail and with the consciousness that writing about art and culture has always been a social gesture.