Articles

Most Read Datacide Articles in 2016

As always in the first days of the new year we publish a list of the most read – or at least most clicked – articles on datacide (online) during the previous year:

1. Keith Robinson Desert Storm 06/08/68-18/09/16 Obituary by Marc Hekate, which will appear in print in the upcoming Datacide Sixteen. This got a huge spike after being shared many times on social media.

2. You’re Too Young to Remember the Eighties – Dancing in a Different Time by DJ Controlled Weirdness. This nice and now classic piece on the 80′s dance underground in London is from Datacide Ten, published in 2008 and was the most read article for the previous three years! And in 2014 it also has become the most read piece on this site, overtaking the Coil Interview from 1986, which was still the third most read piece in 2016:

3. COIL – Interview from 1986 plus Introduction. Classic interview with John Balance – originally published in the Zine “turn to crime” (Vision 2). Vision was of course the predecessor of Praxis/Datacide. Reprinted in Datacide Nine (2006/2014)

4. What the Fuck? – Operation Spanner by Jo Burzynska – always in this chart since 2011, this is the oldest Datacide article here – from Datacide Two, 1997, now reprinted in our book EVERYTHING ELSE IS EVEN MORE RIDICULOUS.

5. Anti-Semitism from Beyond the Grave – Muslimgauze’s Jihad by Christoph Fringeli. Getting read more and more – and predictably STILL getting the usual flak from fanboys and apologists… Originally from Datacide Nine (2006/2014)

6. Dope Smuggling, LSD Manufacture, Organised Crime & the Law in 1960s London by Stewart Home from Datacide Eleven, based on his talk at the 2008 datacide conference in Berlin, and in each top 10 since then… Originally published in Datacide Eleven (2011).

7. François Genoud – The life of a Swiss banker and fascist anti-Imperialist by CF, originally published in Datacide Ten. Up from number 20 last year.

8. The most read article from Datacide Fourteen in 2015 is John Eden’s account of the Hackney police’s “community relations”: “They Hate Us, We Hate Them” – Resisting Police Corruption and Violence in Hackney in the 1980s and 1990s. Last year’s number 8 is getting a growing readership.

8. From Subculture to Hegemony: Transversal Strategies of the New Right in Neofolk and Martial Industrial by Christoph Fringeli from Datacide Eleven (2011). This was the most read article in 2011, number 5 in 2012, number 3 in 2013 and 5 in 2014 as well as this year.

9. The Brain of Ulrike Meinhof by CF is another text with a a steady readership, both previous years at number 8, in 2014 it dropped out of the “top 10” only to re-appear again this year. Originally from Datacide Nine.

10. Godard – The Child of Marx & Coca-Cola Howard Slater’s excellent article on Godard’s Masculin/Feminin from Datacide Eight is finding a new readership.

11. Wreckers of Civilisation: The Story of COUM Transmissions & Throbbing Gristle by Simon Ford (Book Review by Stewart Home from Datacide Six).

12. Revolt of the Ravers – The Movement against the Criminal Justice Act in Britain 1993-95 by Neil Transponine about the struggles against the Criminal Justice Bill and subsequent 1994 Criminal Justice and Public Order Act from Datacide Thirteen.

13. Spiral Tribe interview with Mark Harrison from issue Thirteen by Neil Transpontine, also from issue 13. Essential for those interested in the history of the 23 tribe and free party culture! Last year’s number 12.

14. Last Survivors or First Mutants? – Notes on Surplus Population by Howard Slater – from Datacide 14.

15. Shaking The Foundations: Reggae soundsystem meets ‘Big Ben British values’ downtown – one of the articles that appeared in Datacide (this one in issue Eleven, 2011) dealing with the reggae soundsystem culture and its history, by John Eden.

16. Fluxus and DIY Concerts by new Datacide contributor Guoda Diržyte from datacide 14.

17. Also by John Eden is this interview: The Dog’s Bollocks – Vagina Dentata Organ and The Valls Brothers which gives great insight into some of the more interesting industrial culture.

18. For the second time in this list is a short article about the text “Der Waldgang” by the writer Ernst Jünger, originally published as an appendix to “From Subculture to Hegemony” (see number 8 in this list) in Datacide Eleven.

19. Datacide 15 News: Neo-Nazis, the National Socialist Underground and the State – a news update on the Neo-Nazi terrorist group Nationalsozialistischer Untergrund (NSU) and its connection to the German state security agency Verfassungsschutz from Datacide Fifteen.

20. Just Say Non: Nazism, Narcissism and Boyd Rice – originally published on the blog whomakesthenazis.com and reprinted in our Almanac for Noise & Politics 2015 – and finally re-blogged here.

As a year ago we post a top 20 list rather than just a top 10 as in previous years. Hopefully it will be encouraging to dig deeper into the wealth of articles on the site – nearly 500 are up now and more will follow soon!

Sincere Genesis – On Félix Guattari & Groups

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“Sooner or later the Situationist International must
define itself as a therapy: we are ready to defend the
poetry made by all against the false poetry
rigged up by power”
– Raoul Vaneigem

As a psychoanalyst and militant, Félix Guattari seems to have engaged with the problem of groups for all his life. Across his writing we see him putting forth, as part of a collaborative process, various conceptualisations of group life which are to a larger or lesser degree operational concepts which he had experienced and worked with. These are: institutional analysis, the subject and subjugated group and the collective assemblage of enunciation. Several themes, gathering points for his later more pronounced interest in the production of subjectivity, appear to flow through all of these concepts: transversalism, a mixed semiotic and the subject as ‘supra-personal’. [Read more →]

Just Say Non: Nazism, Narcissism and Boyd Rice

boyd5_grey boyd_rape

“Boyd’s rather unimaginative sadism used to embarrass me, but then he explained it using words like ‘Weltanschauung'”
Lisa Crystal-Carver, Drugs are Nice [LC, p215]

I last saw Boyd Rice play (as ‘Non’) back in August 1981, alongside Throbbing Gristle (TG), Z’ev, Cabaret Voltaire and Clock DVA as part of the ‘Industrial Night Out’ at the Lyceum, London, which brought together the big cheeses of Industrial Music in what was to be something of a coming out party for the scene but turned out also to be its swansong (it was TG’s last UK concert; they broke up a few months later). At the time Rice presented himself as a Dadaist and prankster though his aesthetic was actually closer to the sub-Futurist ‘instant karma for kids’ noise-racket that Merzbow has since successfully appropriated and turned into a brand / ‘racket’ of his own. While TG boasted of making music from ugly noise, Rice tried to outflank them by serving up the ugliness directly, unfiltered by any obvious concern for form. In fairness Boyd Rice could be said to be among the key players of early Industrial Music, and as a result he perhaps has a shade more kudos than some of the complete musical non-entities we’re generally concerned with around here (Wakeford, Pearce, Moynihan, et al). Rice has declared his Fascism in a number of statements, in his art, and through public actions such as appearing in full Fascist regalia and holding a dagger in a photograph alongside Bob Heick, taken in 1989 to promote the latter’s organisation, the neo-Nazi skinhead party, American Front. He has also appeared on White Aryan Resistance founder Tom Metzger’s cable TV show Race and Reason, where he declared that his friends in Current 93 and Death in June were promoting a ‘racialist’ agenda and emphasised the importance of Industrial and Neo-Folk music for building the ‘Aryan youth movement’.
[Read more →]

Obekna

Scenario by Olivier Noel, Drawings by Simon Lejeune.

Click (twice) on the images to enlarge. See below for more details.

obekna-page-1-eng-low [Read more →]

Fluxus and DIY Concerts

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Many different art movements of the twentieth century have influenced experimental music. This essay will focus mostly on the effect the Fluxus movement has had on music. Fluxus was particularly important to the development of an understanding that music does not necessarily have to be harmonic, and most importantly, that anyone can create music by organizing everyday sounds. This essay will discuss the following issues: how Fluxus artists challenged experimental/noise music; how audience becomes part of the performance instead of simply observing; and how noise music (as well as the Fluxus movement in general) was a protest against serious traditional culture.

Fluxus was not the first art movement that started the development of noise aesthetics. The proposal that artists should use everyday sounds in their compositions first appeared in the Italian Futurist painter and composer Luigi Russolo’s manifesto “The Art of Noises”. In his text the author criticized the old fashioned tools for sound production, and as an alternative he proposed making new musical instruments and using a multitude of machines. According to Russolo, perfectly harmonious music had reached a point where it no longer had the power to excite or inspire. Consequently, artists of the Dada movement extended experimental music ideas. A prime example was the Anti-Symphony concert performed in Berlin on April 30, 1919. Later, the Surrealist and Fluxus art movements brought in new, fresh ideas to noise/experimental music. The biggest influences were the Fluxus artists Robert Watts, Wolf Vostell, Nam June Paik, George Maciunas, Philip Corner, Benjamin Patterson, LaMonte Young, and Takehisa Kosugi. Fluxus performances grew out of the principle of concrete (ready-made) sound, and the Experimental Composition classes by John Cage ran between 1957 and 1959 at the New School of Social Research in New York. According to Cage, artists should use actions, concrete sounds, and random things, rather than being represented in an illusionist/harmonic manner. There were two different types of Fluxus performances. The early one was the “Events/Neo-haiku Theater”, which was followed by the “Happenings/Neo-Baroque Theater”. Happenings, environments, and Fluxus made the artist aware of sounds’ potentiality in creating work that retained a sense of immediacy, corporeality, and curiosity. [Read more →]

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