endnotes-1

For all those who, like me, were late getting on the Endnotes bandwagon and can no longer get a hard copy — I’ve made a quick pdf of volume 1. Nothing fancy, just better than reading it online.

Enjoy. Getting prepped for v3.

Kelly Baum – “The Sex of the Situationist International” in October 126

Jennifer Kennedy – “Charming Monsters: The Spectacle of Femininity in Postwar France” in Grey Room 49

Tiqqun – “Raw Materials for a Theory of the Young-Girl

Ariana Reines – “Seduction is the new opium of the masses.” On love under Empire, Translators’ Note on Preliminary Materials for a Theory of the Young-Girl in Triple Canopy

Nina Power – “She’s just not that into you” Book review: Preliminary Materials for a Theory of the Young-Girl in Radical Philosophy

Seth Oelbaum – “A Rebuttal to Nina Power’s Infuriating Review of Preliminary Materials for a Theory of the Young-Girl

Moira Weigel and Mal Ahern – “Further Materials Toward a Theory of the Man-Child” in The New Inquiry

Jaleh Mansoor – “Notes on Militant Folds: Against Weigel and Ahern’s ‘Further Materials Toward a Theory of the Man-Child” in The Claudius App

Critila – “Mind the Dash” in The Anvil Review

Grey Room #52 on Debord’s cinema, edited by Jason E Smith
Issue 52 is available in its entirety here.

For an extensive archive on Debord’s and SI film, see Situationist Film

Grey Room 52
Contents:

Contributors

Guy Debord, Filmaker
Jason E Smith

With and Against Cinema
International Situationnite 1

Hurlements en faveur de vous
Kaira M. Cabañas

Cinema against the Permanent Curfew of Geometry: Guy Debord’s Sur le passage de quelques personnes à travers une assez courte unité de temps (1959)
Sonyoung Yoon

Missed Encounters: Critique de la séparation between the Riot and the ‘Young Girl’
Jason E Smith

The Insolent Edit
McKenzie Wark

Guy Debord’s Time-Image: In girum imus nocte et consumimur igni (1978)
Benjamin Noys

Guy Debord and the Cultural Revolution
Sven Lütticken

When We Were on the Shenandoah
Jacques Rancière

[excerpt from the introduction to written by Jason E Smith for The Winter is over: Writings on Transformation Denied, 1989-1995 by Toni Negri]

… In their 1962 text heralding the coming end of the bad days — a pronouncement echoed in Negri’s declaration that winter is over — the S.I. declared that these riotous days in which the ravages of the 1950s youth rebellion were married to the vandalism of workers striking the metropolis would eventually, and necessarily, be transformed into a positive project, ultimately reconverting the machines of consumption into forces capable of expanding the real power of men. This is why they could speak of a new cycle of struggles: the larval forms of conflict always take a violent, even criminal, form whose value lies not in the destruction they undertake but in the quality of insubordination they articulate. The time of riots eventually wises up, and the machine-breaking and commodity riots necessarily follow an arc that, with an increasing degree of theoretical and strategic comprehension, will seek not to demolish this machinery so much as seize and repurpose it in view of founding another society, another world, another life, one no longer serving the ends of capitalist accumulation and the compulsions of its real abstractions. By 1973, however, Debord — in the film version of his Society of the Spectacle — had come to believe, it seems, that the contemporary capitalist city, whose exemplary figure is that of Paris now assassinated, that just such fundamental project of the S.I. in its earlier phases was one of seizing the machines and means of capitalist accumulation in view of constructing and collectively dominating the environment, the built environment of Paris of the 1970s was to the contrary so unsalvageable that it was good — or so the film, in its intertexts and imagery, suggests — only for the fire. Cruelly alluding to the recent arson of a poorly built middle school that killed 16 children and four adults, Debord asserts that shabby scenery of the metropolis is rebuild so constantly and so shoddily, in the interests of both profit and repressive control, that it can only be an incitement to vandalism and unavoidably produces arsonists: the décor of capitalism in its spectacular stage is as flammable as a French middle school. His next and final film, made five years later, will f course be called In girum imus nocte et consumimur igni: we turn around in the night and are consumed by fire…

[reposted from Occupy Everything, a lovely text by Cara Baldwin]

March 30, 2011

I have made a rather radical decision today. I have decided to write with my hands. So what? It’s the tiniest gesture toward embodiment.

My own.

I understand I am to speak today on behalf of someone[s] and something[s] other than myself. This strange [and impossible task is one I've set out to do every day for several years now. And while I don't intend to turn my back on it--especially not now--I am first struck by the foreign impression of my own hand hitting paper.

To set out to write in this way is to see my own handwriting for the first in a very long time. It's grown sloppy. I dreamt last night I was looking at my writing from years ago. How clearly cloying my penmanship was then. It expressed a sincere desire for legibility and understanding--even approval.

I've said that I am interested in exploring issues of intimacy and scale. It seems to me this has to do with a certain agency and trust; the Derridian, the multitudes, the figure and the ground. It has to do with Sedgwick, Ettinger; the interpersonal and the many many ways we become distanced from ourselves and one another.

I am writing outside and without pause or hesitation.

This goes to the question--and what is at stake-- in the term 'militant research'. We have chosen this term, this phrase, to indicate a set of intentions and manner of working that operates in resistance. One that is not [for the moment] easily absorbed into the language of the institution as, say ‘research-based art practices’ or ‘activist art’ might be. When it loses its force of resistance, we will abandon it, tactically [evacuate].

OCCUPY EVERYTHING [and/or EVACUATE]

We’ve said that Occupy Everything is an artist run platform dedicated to militant research, critical pedagogy and public practices that include mediatic intervention, feminism and the anti-enclosure movement.

It began at The Public School in Los Angeles in a class called The UC Strikes and Beyond and was inspired by the words and actions of occupiers everywhere.

It is an autonomously organized group that operates with both vertical and horizontal modes of distribution. It is porous and connected to an expanding [and/or contracting] constellation of projects that include The Public School, AAAARG and The Journal of Aesthetics & Protest. Respectively, these represent variously ‘flat’ or ‘horizontal’ approaches to institutional frameworks that could be understood as a school, a library and a press.

This emphasis on information-sharing and militant research takes place in an openly declared ‘Information War’ that is, in fact, nothing less than a Class War.

[I]

As I write this, I pause to consult with a social worker who directs me to public resources for food and shelter. I respond to an email from my friend and collaborator asking when I might come to stay with them. I overheard another friend last week explain my presence in her home by saying I was ‘between places’. I reflected at length on these things, the cost of transportation and liminal spaces [neither here/ nor there].

The project of OE as it stands is configured around occupation and evacuation; embodiment and withdrawal. The militance of this investigation is not one of over identification with institutional frames, but rather, a recognition of their violence.

The ever wonderful Ubuweb has managed to wrangle some pdfs of original SI publications. In French, but great to get a sense of layout and how the SI used imagery, something entirely lost in Knabb’s Anthology.

si_cover_color

I’ve finally finished my re-working of Debord’s film. Might be of interest to readers.

Situationist Library

March 5, 2013

Debord Films

February 4, 2013

I’ve just finished re-subtitling two of Debord’s early films, which include some additional info excluded of other versions online, as well as much better readability. Enjoy!

 

Below are terms as elaborated in Bifo’s new book The Uprising: On Poetry and Finance

bifo

Abstraction – When Marx talks about abstract labor, he is referring to the separation of a worker’s activity from concrete usefulness, which is what happens under capitalism. The use-value of the worker’s product is only a step toward the real thing which is value, which is surplus value…The capitalist cares only about how much value his work can produce in a given unit of time. This is the beginning process of capitalist abstraction.

In the late-modern phase of capitalism, digital abstraction adds a second layer to capitalist abstraction: transformation and production no longer happen in the field of bodies, and material manipulation, but in the field of interoperativity between informational machines. Information takes the place of things, and the body is canceled from the field of communication.

We then have a third level of abstraction, which is financial abstraction. Finance means that the process of valorization no longer passes through the stage of use value, or even the production of goods (physical or semiotic.) (104) Read the rest of this entry »

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