On “The Description of Bankruptcy”
‘If you ask for my life, I will stab you in the heart’ 1. Four black and white camera angles
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Datacide 10
Peter Whitehead and the Sixties
Peter Whitehead, a filmmaker and enigmatic figure, captured key moments of the 1960s counterculture with his documentaries “Wholly Communion” and “Benefit of the Doubt.” Despite lacking formal filmmaking skills, Whitehead documented major cultural events like Allen Ginsberg’s poetry readings and Pink Floyd performances. His spontaneous, raw filming style, immortalized these moments in British countercultural history, especially *Wholly Communion*. Review of the BFI’s DVD release by Stewart Home in Datacide 10 (2008).
Read MoreTeknival and the emancipatory potential of technology
This text is based on a talk given at the One-shot Art Festival in Berlin, October 2007 as part of
Read MoreCommodities for the Jilted Generation
Thoughts on the presentation of rebellion in the artwork of (Post-)Rave records. Abstract On the basis of two drawings I´m
Read Morevisible and invisible fragments of experiences
– ABOUT BOGOTRAX FESTIVAL – “Every possible of the individuals is then a shadow that gives a sound.” Kierkegaard –
Read MoreALL THINGS FALL AND WILL BE BUILT AGAIN
There have always been gatherings of people who want to let off steam – and there always will be. Our
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More Than Just a Night Out: Rave as Confrontation
In this article from Datacide Ten (2008) The Reverend covers the protests against the Criminal Justice and Public Order Act 1994.
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You’re too Young to Remember the Eighties – Dancing in a Different Time
In the early 1980s, nightlife was limited, with clubs closing by 2 am. Amid overpriced discos, a subculture emerged, embracing electronic music and underground clubs. Influenced by bands like Soft Cell, the writer explored the growing club scene in London, including venues like the Batcave, the Hacienda, and illegal warehouse parties. This scene laid the foundation for Acid House’s rise in the late ’80s.
Read MoreRadical Intersections
The rise and repression of the free festival movement in the UK and some intersections with radical anti-politics. This article
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