The last issue of datacide went to print only a relatively short time (at least in datacide-terms) after the events of September 11, 2001 – the commentary titled Terror Against Terror was written in the immediate aftermath. In the years since then it’s become possible to assess the events as crucial, but not necessarily in the sense they were interpreted in the official canon. This was an event that accelerated a number of developments that were in process already, especially concerning the left and the anti-globalisation movement.
The attack on the United States, and more specifically on the East Coast, was identified by the perpetrators with finance capital which they imagine to be run by Jews. This was clearly the most spectacular “anti-Imperialist” coup perpetrated since Nasser claimed the Suez Canal, and was considerably more bloody. [Read more →]

Bifo in Osaka

Franco Berardi, better known as the Italian media theorist Bifo, was in Osaka, Japan last week as part of a tour that brought him to the protests against the G8 meeting in Hokkaido. He gave a talk on media activism at an event organized by Remo, a local media collective, where he discussed not only his own activity in Italy but posed some critical questions to the audience about the situation in Japan.
He began by playing a short documentary on Telestreet, a pirate television project organized around Italy that seeks to create self-media and challenge the existing media monopoly held by [Read more →]

Repression and the Riot Situation in Kamagasaki (Osaka) related to G8 Meeting

Over the past week and a half, an unprecedented political crackdown has been enacted in advance of a series of economic summits around the country. Despite this, the brave workers of Kamagasaki stood up against the stiff security environment in riots against the brutal beating of a day laborer over the past five days. The twin situations of repression and revolt deserve to be examined in more detail.
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Objection to Procedure Interview with Christoph Fringeli (2000)

Objection to Procedure Interview with Christoph Fringeli (2000)

1. Your contribution to the harsher elements of hardcore are most easily
chronicled in the progress and history of the Praxis label. Please describe
what you saw Praxis’ purpose when it began in 1992, and what you see its
purpose as now.

I had been involved with what you might call industrialnoisejazzpunknowave shit in the mid- to late 80’s, and ran a label called Vision in Basel, Switzerland, where I grew up. Around 1990 I became extremely disillusioned with the “independent” scene, as it seemed to be replicating the mechanisms and values of the major music market. This is a process that hasn’t stopped since: it’s all about commodification of young people’s creative energies, and channeling them into something that is cementing the current dominant social-relations by creating the idiotic concept of “great artists” = “stars”, and divisions between audience and performers.
When the first wave of Acid House hit (say ’87) I was quite intrigued by the DIY aesthetic and the concept of anonymous white labels, but with the exception of a small handful of tracks, such as Phuture’s Trax releases which I thought were brilliant, really fucking weird, overall there were not that many interesting tracks to support a whole new concept of use value of records, which I think really happened around ’90/91. Suddenly there were all these 12″s coming out that had a much harder sound, and I think for me personally seeing Underground Resistance in the Tresor club in Berlin was a real turning point, but it was backed up and supported by countless often anonymous producers churning out banging tracks all over the world.
By the end of 1991 I was squatting in South London and the following year the first couple of Praxis records appeared. I’d rather not try and “chronicle” Praxis here, as it had and continues to have an intense history, but to try and stay clear and short, one of the basic departure points were that I wanted to take elements of the new dance culture and push them a bit further, distort them, make them more extreme.
I was, and I’m still, particularly interested in the aspect of collective cultural creation and experience. The “artist” would no longer so much express their personal feelings towards the world and expecting to be admired for it like in rock music, but take elements others were working on and add their touch, throw it back into a collective pool; and the actual experience of the music would not so much take place in the bedroom, but at a party where a DJ would use records as raw material for his set.
Of course the existing system of record labels, distributors and media has done everything to appropriate these tendencies and recuperate them for their economy; of course the revolution has not been successful in the sense that the old concepts have been destroyed, with a lot of help by the media they survived in people’s heads. Of course there were soon DJ stars etc, but at the same time there exists a resistance network that simply produces the better, more exciting music, and it’s self-organized, autonomous and based around sound systems and small labels.
Praxis exists in this context of feedback loops between producers, sound systems, underground distribution, always trying to add a new twist to the dialectics of liberation.
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An overview of the British radical left party press.

An overview of the British radical left party press.

The radical press in Britain still consists largely of the papers of the various organisations that situate themselves in the left radical milieu.
A visit in Housmans Bookshop in King’s Cross can easily yield a mostly depressing collection of papers by the saddest of organisations. What exactly is their purpose in this world? We try to find out by reading their publications. [Read more →]

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