hydrarchist writes, this review as published in the second edition of the Make World Magazine. "For many years, Geert Lovink has carried out his work as net-critic
wandering across the territories where the net meets the economy,
politics, social action and art. Years of fast writing on mailing lists,
analysis, polemics, replies and reports have been collected and
elaborated in a way that maintains the rap-style of e-mail debates:
short sentences, ironic slogans, cuts and returns, allusions, cita-tions...
but what emerges from this mosaic is a coherent overall
view on the first decade of digital society.

Dark Fiber

Franco Bifo Berardi

This book is the first complete investigation of
global netculture, an analysis of the evolution
and involution of the web during the first decade
of its mass expansion. But Lovink goes beyond a
sociological, economic and anthropological survey.
Many of the essays in the book outline the
theoretical positions of various agents in the cyber-
cultural scene: Wired's libertarian ideology,
its economistic and neoliberal involution, and the
radical pessimism of European philosophers.
Outside of such confrontation, Geert's position is
that of a radical and pragmatic Northern-Europe-an
intellectual close to autonomist and cyber-punk
movements, who has animated the cyber-cultural
scene for a decade with his polymorphous activity as writer and moderator of
connective environments such as nettime.org,
and as organiser of international meetings.

Anonymous Comrade writes (from Daybreak #3):

Carlos Cortez, ed., Viva Posada! A Salute to the Great Printmaker of the Mexican Revolution. Chicago: Charles H. Kerr Publishing Company, 2002.

Before I ever heard of the EZLN’s rebellion in Chiapas, I knew about the revolutionary power projected by the image of Emiliano Zapata thanks to the propaganda poster art of José Guadalupe Posada.

A few months ago I posted an article about "Surrealism, Freud and
Trotsky" (Surrealism, Freud and
) that
relied heavily on Franklin Rosemont's collection of Andre Breton's
writings titled "What is Surrealism." This Pathfinder book belongs on the shelf of anybody who is interested
in the intersection between revolutionary politics and avant-garde art
and literature.

Now thanks to Autonomedia Press we have a
volume that belongs on the same shelf. I refer to Surrealist
Subversions: Rants, Writings and Images by the Surrealist Movement in
the United States.
Edited and introduced by Ron Sakolsky, this volume
contains articles that originally appeared in the journal of Rosemont's
Chicago Surrealist Group titled "Arsenal/Surrealist Subversion," and
kindred publications.

hydrarchist writes:

Time to Revolt — Reflections on Empire

John Holloway

What is it about Empire that annoys me?

It is not the basic thesis. The idea that capitalism is a decentred and
deterritorialising system of rule, that the old understanding of the world
in terms of imperialism is not valid — this argument is unobjectionable. But
then it was always a mistake to see capital as being attached in some way to
a particular country. Capital is an inherently a-territorial relation of
domination. The Leninist notion of imperialism was misconceived from the
beginning. What is objectionable in Hardt and Negri's argument that
imperialism has been replaced by empire is the assumption that the concept
of imperialism used to be valid — but then this reflects the ambiguous
relation to Lenin that has always been present in Negri's writings and
indeed in much autonomist writing, beginning with Tronti's brilliant "Lenin
in England": the argument that things have changed since Lenin's time, now
we must rethink strategy, do what Lenin did in England.

Catching a Falling Knife: The Art of Day Trading

Interview with Michael Goldberg By Geert Lovink

Over the next three weeks artist Michael Goldberg will be betting on
Newscorp shares. The installation, Catching a Falling Knife, opens
tomorrow at Artspace in Sydney (Oct 17, 18.00). As Artspace's critic in
residence, together with Michael, I will report on the ups and downs of
Murdoch's media enterprise and Michael's efforts to play the market . The
following interview gives the reader an idea about Michael Goldberg's
previous work, his intentions and expectations. You can follow the project
at falling knife

"A Re[inter]view with Wu Ming"


1954, a decade of Post-War. The Korean conflict has just shaken the world, the French are withdrawing from Indochina, McCarthy's witches hunt is almost over, the KGB is founded in Moscow. New lifestyles and desires for freedom are wriggling under the Cold War blanket.

This is the essence of 54, the novel authored by the Bologna-based Wu Ming collective ("No name") which was recently published in Italy (Einaudi, Turin, 666 pages, 15 euros). 54 is about the dialectical relationship between those two empires (which were going to become one, as Negri & Hardt would put it) and a manifold mankind that dreams of moving beyond the modern age and Fordist discipline on the workplace.

Alan Moore writes

"This spring I took part in an exhibition at the Smart Museum in Chicago called “Critical Mass.” The show presented work by several artists and groups of artists who engaged in what they called “critical practice.” While this term is imbued with the typical art institutional vagueness, and the press releases smoke it up pretty good, the curators did assemble an extremely instructive bibliography of activist art practice and political art practice now and in the past. I post it with their permission as a public service.

See also -- a review of the April, 2002 “Critical Mass” exhibition in Chicago:
http://www.chicagoweeklynews.com/story.php?story=1 89

The activist art collective Temporary Services (more art than activist, actually) described their contributions to this show at the following page (scroll down to “Groupings”):

nolympics writes

Julian Stallabrass reviews Sam Williams, Free as in Freedom: Richard Stallman’s Crusade for Free Software. From New Left Review. Stallamn is Mister Copyleft, a programmer and activist prominent in the free software and digital commons world.


Geert Lovink, Dark Fiber: Tracking Critical Internet Culture

Reviewed by McKenzie Wark

The book is becoming a residual art-form. Like carving in stone, it is a
way of presenting information for ritual occasions that might more easily
be conveyed in other ways. In his new book Dark Fiber, Geert Lovink is
well aware of the anachronistic quality of a book about net culture.
"Scholars are stuck between print and online forms of knowledge
hierarchies", he writes.

hydrarchist writes

Revolution is Ordinary
John Kraniauskas, Radical Philosophy, 115 (Sept. – Oct., 2002), pp. 40-42

John Holloway, Change the World Without Taking Power, Pluto Press, London
and Sterling, 2002. viii + 237 pp., £15.99 pb., 0 7453 1863 0 pb.

Steve Wright, Storming Heaven: Class Composition and Struggle in Italian
Autonomist Marxism,
London and Sterling, Pluto Press, 2002. ix + 257 pp.,
£15.99 pb. 0 7453 1606 9 pb.

In his recent anthology of Lenin’s conjunctural writings of 1917, Revolution
At The Gates,
Slavoj Zizek insists on the present need for new ‘forms of
politcization’ of the social, now globalized by network capitalism, which
contemplate capitalism’s end. Zizek himself looks, not quite to Leninism as
such (a Stalinist invention), but to Lenin’s exemplary ‘full subjective
engagement’ in a moment of catastrophe he makes his own, which was as much
existential as organizational and theoretical. Zizek refers to this form of
political engagement as a ‘Leninist utopia’. Such quasi-normative
reflections on revolutionary enthusiasm as a mode of individualized being
and becoming (arguably, a culturalist intervention in the realm of the
political overcoded in the language of a philosophy of will) are widespread,

suggesting a shared experience of political crisis.