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it’s still half-astonishing to me that people will dismiss post-structuralism/post-modernism for “dissolving everything into language,” as if language weren’t material enough to be taken seriously. as if it weren’t material to have your language taken from you (or never be given one). as if it weren’t material for your tongue to be forced to forget how it was raised. as if it weren’t material to be excluded, expelled, beaten, killed because your tongue moves with an accent or a lisp. 

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MANIFESTO OF POST-FUTURISM 1. We want to sing of the danger of love, the daily creation of a sweet energy that is never dispersed. 2. The essential elements of our poetry will be irony, tenderness and rebellion. 3. Ideology and advertising have exalted the permanent mobilisation of the productive and nervous energies of humankind towards profit and war. We want to exalt tenderness, sleep and ecstasy, the frugality of needs and the pleasure of the senses. 4. We declare that the splendor of the world has been enriched by a new beauty: the beauty of autonomy. Each to her own rhythm; nobody must be constrained to march on a uniform pace. Cars have lost their allure of rarity and above all they can no longer perform the task they were conceived for: speed has slowed down. Cars are immobile like stupid slumbering tortoises in the city traffic. Only slowness is fast. 5. We want to sing of the men and the women who caress one another to know one another and the world better. 6. The poet must expend herself with warmth and prodigality to increase the power of collective intelligence and reduce the time of wage labour. 7. Beauty exists only in autonomy. No work that fails to express the intelligence of the possible can be a masterpiece. Poetry is a bridge cast over the abyss of nothingness to allow the sharing of different imaginations and to free singularities. 8. We are on the extreme promontory of the centuries… We must look behind to remember the abyss of violence and horror that military aggressiveness and nationalist ignorance is capable of conjuring up at any moment in time. We have lived in the stagnant time of religion for too long. Omnipresent and eternal speed is already behind us, in the Internet, so we can forget its syncopated rhymes and find our singular rhythm. 9. We want to ridicule the idiots who spread the discourse of war: the fanatics of competition, the fanatics of the bearded gods who incite massacres, the fanatics terrorised by the disarming femininity blossoming in all of us. 10. We demand that art turns into a life-changing force. We seek to abolish the separation between poetry and mass communication, to reclaim the power of media from the merchants and return it to the poets and the sages. 11. We will sing of the great crowds who can finally free themselves from the slavery of wage labour and through solidarity revolt against exploitation. We will sing of the infinite web of knowledge and invention, the immaterial technology that frees us from physical hardship. We will sing of the rebellious cognitariat who is in touch with her own body. We will sing to the infinity of the present and abandon the illusion of a future.

Franco Berardi aka Bifo, MANIFESTO DEL DOPOFUTURISMO [manifesto of post-futurism] via  eipcp.net (via underpaidgenius)

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The Redskins Nation citizens eagerly signed up, most of them knowing that they might be mocked in their interview with correspondent Jason Jones. But several hours into the Sept. 13 taping of the yet-to-air episode, the fans, all from Virginia, said they were suddenly confronted by a larger group of Native American activists — all of whom were in on the showdown prearranged by “The Daily Show.”

The encounter at a Dupont Circle hotel was so tense that an Alexandria fan said she left in tears and felt so threatened that she later called the police. She has told “The Daily Show” to leave her out of the segment but doesn’t know whether the producers will comply.

“This goes way beyond mocking. Poking fun is one thing, but that’s not what happened,” said Kelli O’Dell, 56, a former teacher who lives in Alexandria and doesn’t watch the show regularly. “It was disingenuous. The Native Americans accused me of things that were so wrong. I felt in danger. I didn’t consent to that. I am going to be defamed.”

If only the Native American activists protesting the racist R**** mascot knew what it was like to be falsely misrepresented and endangered without their consent, and defamed. They’d want to call the police, too.

In her essay "I’m Leaving!" White fragility in Racial Dialogues, Robin J. DiAngelo writes: ”fragility coupled with privilege will result in a response of resistance, indulgence in emotional incapacitation, exiting, or a combination of these.”

And they say people protesting the R**** mascot are the ones who are “too sensitive.”

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I propose that queer activism, culture, and its scholarship should be grounded in the lived experiences and strategies of those who do and do not necessarily identify as gay, lesbian, or queer. This means subjects who reside within and at the periphery or the margins of a globalised epistemology of gay and human rights discourse.

Alicia Izharuddin, “Double marginalisation: postcolonialism, queer studies and decolonisation as metaphor” (via kawrage)

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walter benjamin is a good person, forever, and i love him

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The circulation of capital is at the same time its becoming, its growth, its vital process.

Karl Marx - Grundrisse Ch.10 1857 (via dailymarx)

one of the best Marx quotes ever. 

(via feelingpolitical)

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In the hook of “Man of the Year,” when ScHoolboy Q says, “Titty, ass, hands in the air,” it sounds like he’s saying, “Titty-ass hands in the air.” As in like, “Man, those hands are titty. Those hands are titty as fuck.”

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A photograph you take of yourself sits at the nexus of control and self-exposure. It blurs the line between reality and the performance of a fantasy self. Diane Arbus once said that, “A photograph is a secret about a secret. The more it tells you the less you know.” We may think we perceive some essential truth about somebody’s character or soul when we look at a photograph they’ve taken of themselves, but it’s nearly always runaway guesswork. The woman in the photograph who controls her own image is, like Maier and Woodman, an affirmation that affirms nothing.

Madeleine Watts, “Women Take Photographs of Themselves: An Essay On Vivian Maier, Francesca Woodman, and Self-Photography” (via adrowningwoman)

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Karen Dalton forever.

If I listen long enough to you I find a way to believe that it’s all true Knowing that you lied straight faced while I cried Still I’ll look to find a reason to believe

[popagranda-blog]

Powell Street Grounds, Sunday 18 June 1938

Following the brutal eviction of unemployed protesters from the post office, about ten thousand people came out to the Powell Street Grounds (now Oppenheimer Park) to protest police brutality.

The unemployed “sit-downers” had been occupying the post office for a month to protest the closure of relief projects that had been sustaining them since the federal relief camps were closed in 1936.The sit-downers were driven out with tear gas and then forced through a gauntlet of club-wielding police, resulting in numerous injuries and hospitalizations in what became known as “Bloody Sunday.” The unemployed responded by marching down Hastings Street smashing store windows.

The eviction took place at 5:30 am in order to limit the chances of media or supporters arriving on the scene. Nevertheless, a Province photographer made it to the scene and later had some of his photos featured in Life Magazine. 

Source: BC Archives #C-07965

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heh. can't help but notice the lib's vertical red/black background resembles the flag of the newly created Haitian state in 1804 --following the success of the only slave rebellion in world history resulting in an independent nation-- the same year Jean-Jacques Dessalines banned white people from owning land.

http://www.thestar.com/news/queenspark/2014/06/13/kathleen_wynne_eager_to_get_on_with_it_after_majority_election_win.html

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Gen X thought they had as much ennui and existential dread as was possible, but we showed them.

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Tourism is not just made secure by the new forms of police surveillance; police surveillance is also made more secure by the influx of tourists, whose need for protection bolsters existing rationales for the Police’s militarized presence.

preparing for the World Cup: http://bit.ly/1jamg64 (via bostonreview)

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A youth disturbed too often by the future Atelier Populaire Poster, May 1968.

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ANTI-COLONIAL STREET ART CONVERGENCE COMING SOON